eOUGMT FROM
Laeimnle Donation
J
\.y^(L^ , ^^^?
ANNALS OF THE
LIVERPOOL STAGE
THE THEATRE ROYAI..
Reduced facsimile of the original front elevation, from a drawing
by Robert Chaffers, May 12, 1773.
By kind permission of Mrs. L. E. Thompson, Union Hotel, Liverpool.
ANNALS OF THE
LIVERPOOL STAGE
FROM THE EARLIEST PERIOD
TO THE PRESENT TIME' '
TOGETHER WITH SOME ACCOUNT OF
THE THEATRES AND MUSIC HALLS
IN BOOTLE AND BIRKENHEAD
R. T. BROADBENT
AUTHOR OF 'STAGE WHISPERS'
'A HISTORY OF PANTOMIME'
IVITH ILLUSTT{JT10,'\S
LIVERPOOL
EDWARD HOWELL
1908
liJU^H/t/vu^ ^(r*L<lXi^'U
PREFACE
It is not a whit surprising that although the annals of
most of the other provincial theatres of importance have long
been pubUshed, no one hitherto has written any record of the
Liverpool stage. The difficulties of the task Ue in the fact
that data are at once too sparse and too abundant. Owing
to the incompleteness of the collection of playbills in the Liver-
pool Free Library, there are many gaps in the story of the
Liverpool Theatres which it is well-nigh impossible to fill-
This is all the more regrettable as the remoter period in the
annals of our local drama is much more individual and char-
acteristic than the record of the last half century. Of the era
which came in with the dawn of the touring system data are
superabundant ; on the whole the period is colourless and
unpicturesque, and its records call for rigid compression and
deft selection. It has been my aim to take a rapid bird's-eye
view of the whole panorama, noting everj'thing vital, and
preserving vivid colour where it presented itself. I cannot
hope under the serious limitations of matter and space to
have fuUy succeeded in my labour of love. My fellow-towns-
men must take the will for the deed.
Ample acknowledgment must be frankly and freely made
to those who lent a willing hand in furtherance of the task. My
gratitude is due to that learned stage historian, Mr. W. J.
Lawrence, for his great assistance in kindly furnishing a mass
of valuable material, as well as for his expert advice on many
moot points. I also extend my thanks to Mr. Ronald
Stewart-Brown, Mr. E. R. Dibdin, Mr. Peter Entwistle,
Mr. George T. Shaw, and to Mr. Peter Cowell and the
assistant librarians of the Liverpool Free Library, for
much help kindly and courteously given.
R. J. BROADBENT.
Liverpool, November, 1908.
CONTENTS
PAGE
The Early Theatrical History of Liverpool
I
The Cockpit Yard Theatre
12
The Blackberry Lane Theatre
i6
The Old Ropery Theatre
i6
The Drury Lane Theatre . . . . . . . . . . .
20
The New Drury Lane Theatre
35
The Theatre Royal
52
The New Theatre Royal
108
The Olympic Circus and Adelphi Theatre
. 177
The Liver Theatre
. 206
The Sans Pareil Theatre
. 215
The Amphitheatre and Royal Court
220
The Hop
. 252
The Zoological Gardens Theatre
• 255
The Prince of Wales Theatre (Vauxhall Road)
. 256
The Penny Hop
. 256
The Royal Colosseum and Queen's Theatres
. 257
The Bijou Opera House
262
The Royal Park Theatre
. 267
The Prince of Wales Theatre
. 268
The Rotunda Theatre
294
The Alexandra Theatre (afterwards the Empire Theatre) .
• 303
The Sefton Theatre
• 323
The Royal Victoria Theatre
• 325
The Shakespeare Theatre
• 32s
The New Theatre Royal (Breck Road)
• 331
The Stanhope Theatre
. 331
The Lyric Theare
332
THE CONCERT HALLS.
The Music Hall
334
The Portico Rooms
334
Hime's Music Hall . .
• 335
The Royal Assembly Rooms
• 335
The Philharmonic Hall
. 336
The Concert Hall
. 336
CONTENTS
THE VARIETY STAGE. page
The ' Free and Easies ' and Concert Rooms 338
The Star Music Hall and Theatre 342
The Parthenon Music Hall . . . . . . . . . . 346
St. James's Hall and the New Tivoli Palace of Varieties . . 349
Hengler's Cirques and the Royal Hippodrome . . . . 353
Master Humphrey's Clock . . . . . . . . . . 359
The Malakoff Music Hall 359
The Royal Casino . . . . . . . . . . . . . . 359
The Apollo Music Hall 359
The Liver Music Hall . . . . . . . . . , . . 360
The Eagle Music Hall 360
The Vine 360
The Casino . . . . . . . . . . . . . . . . 360
The Royal Alhambra Music Hall (Kirkdale) 361
Bell's English and American Hippodrome and Circus . . 361
The Oxford Music Hall 361
The Alhambra Music Hall 362
The Cambridge Music Hall . . . . . . . . . . 362
The Constellation Music Hall . . . . . . . . . . 363
The Gaiety Theatre 363
The London Music Hall 365
The Continental Music Hall 365
The Pembroke Hall 365
The Haymarket Music Hall 366
The Westminster Music Hall . . . . . . . . . . 367
The Paddington Palace .. 368
Kieman's Olympia Hippodrome and Circus . . . . . . 368
The Roscommon Music Hall . . . . . . . . . . 368
The Park Palace 369
The Olympia 369
The New Pavilion Theatre 370
The Theatre Royal, Garston 371
BOOTLE.
The Royal Mtmcaster Theatre 372
The Royal British Circus 375
BIRKENHEAD.
The Music Hall 378
The Theatre Royal 379
The Argyle Theatre of Varieties 385
The Theatre Metropole 385
ILLUSTRATIONS
The Theatre Royal
The Oldest Known Liverpool Playbill (1756)
George Mattocks as Leander in The Padlock
Elizabeth Farren, Countess of Derby
Miss Walstein
The New Theatre Royal
John Vandenhoff
Reduced facsimile of the Original Playbill for
Hunt Benefit Performance
The Adelphi Theatre (1863)
The Rotunda (afterwards the Sans Pareil Theatre)
The Royal Amphitheatre . .
The Royal Court Theatre
The Queen's Theatre
The Prince of Wales Theatre
Sir Henry Irving in 1865 . .
The Royal Alexandra Theatre (1870)
The Shakespeare Theatre . .
The Music HaU, Bold Street
The Star Theatre
The Parthenon Music Hall
Hengler's Circus, Dale Street (1859)
The Royal Hippodrome
The Malakoff Music Hall
The New Theatre Royal, Birkenhead . .
the Leigh
PAGE
Frontispiece
26
40
64
102
108
128
162
198
216
224
248
262
268
278
306
326
334
344
348
354
356
358
378
Annals of the Liverpool Stage
THE EARLY THEATRICAL HISTORY OF
LIVERPOOL.
Long before the Norman Conquest there stood at West
Derby, Liverpool, an ancient castle, whose origin is lost in
antiquity. Probably it was there when the Danes were driven
out of Lancashire by Athelstane and Edmund, the grandsons of
Alfred the Great. The site of this old castle, and of the
manor house which succeeded it in the reign of Henry III,
can yet be identified. It is on the north side of the lane — now
known as Meadow Lane — leading from West Derby Village
towards Croxteth Hall. Curiously enough, the ground upon
which the old castle was built is known to this day as ' Castle
Field.'
To the Castle of West Derby during Danish, Saxon, and
Norman times, doubtless, came wandering minstrels, who sang
to their own accompaniments stirring songs of chivalry. There,
also, in all probability, the jester played his merry pranks,
and with his ' quips and quiddities ' caused the old oaken rafters
to ring again with the loud laughter of the Baron and his re-
tainers.
A few years after the Norman Conquest, Earl Roger de
Poictiers (according to Camden's ' Britannia') is said to have
erected in 1073, on a portion of the site now occupied by
the Queen Victoria Memorial, a baronial castle. There is no
evidence to support this assertion. It seems more feasible
to infer that the castle occupied (but not erected) by Roger
de Poictiers was that of the ancient Castle of West Derby.
' It was, probably,' says Baines,* ' the chief place in the district
during the Danish as well as the Saxon dominion '; and, I may
add, during the early part of the Norman period.
Here Earl Roger, doubtless, kept his minstrels, and in
imitation of his royal master, a jester. The Conqueror's life,
• 'History of the Commerce and Town of Liverpool,' p. 54.
4 ANNALS OF THE LIVERPOOL STAGE
plays for the amusement of my lord Constable and the officers
of his retinue. It is also most likely that out of courtesy the
mayor and the principal inhabitants were occasionally invited
to partake of these diversions, but it does not appear if this
primitive hall of Thespis was open for all who chose to resort
thither.'
That Liverpool in the middle ages favoured itinerant per-
formers is shown by the bestowal of the name Juggler upon
one of the then principal streets of the town. With reference
to the derivation of the name that erudite historian, Mr. W. Fer-
gusson Irvine says : ' The only one the writer has ever heard
of is that, as a large empty space lay on the west side of the
street, it gained its name from the jongleurs who performed
for the edification of mediaeval Liverpool.'* It is from the poet-
musicians of the Normans, formerly comprehended in France
under the general title of jongleurs, that we derive the word
juggler. Juggler Street was situated on the east side of the
present Town Hall. The street formed the junction between
Castle and Tithebarn vStreets, and was in a direct line with Old
Hall Street. Juggler Street is first mentioned in a deed dated
August i8, in the sixteenth year of the reign of Henry VI. f
After the dissolution of the monasteries there came the
dissolution of the four chantries in connection with Liverpool's
first-known ecclesiastical building, St. Mary's del Key, which
was situated on the quay-side in close proximity to the Tower
in Water Street. In 1552 a list was made of the sacred vessels
and vestments belonging to St. ^Mary's. These chattels and
properties were not then appraised, and they were, probably, left
for disposal by the Corporation of Liverpool, who afterwards
instituted an enquiry as to what had become of certain of the
vestments, which, apparently, had been misappropriated.
In connection with this one finds the following entry in the
Corporation Records : — ' John Rile alsoe beyng Scholem"^ in
this Towne acknowledgyth h3rm to have in his custodie Mor
twoe Coops the wheche he made in Apparrell for M*^- Maior's
Sonne Willi^ Cross & Thom's Burscough w*^ others to playe
theyr paidances in — more not.' ' Paidances ' it is conjectured,
mean ' plai-dances,' so that these copes once used in Catholic
* Vide ' Liverpool in King Charles the Second's Time ' (edited by W. Fergusson Irvine),
P- 37
t Harleian MSS., 2042, p. 280.
ANNALS OF THE LI\^RPOOIv STAGE 5
times for Divine Service were afterwards requisitioned for
stage dresses for the acting of children's plays.*
The Corporation Records for the year 1571 contain the
following entr>^ : ' Item. We agree that no players of inter-
ludes, jugglers, gesters, or wandering people bryngyng into
this towne any monstrouse or straunge beasts, or other visions
voyde or vayne, to they re lucre and distresse of the q^ subjects
without Hcence of Mr. Maior tyme beyng.'
It is stated in the Records that some unlucky itinerants
described as * the wanderers with the hobby horse,' were
ordered to be put in the stocks at the High Cross, t Apparently
they had given a performance ' without licence of Mr. Maior
t3ane beyng.'
In Queen Elizabeth's reign other itinerant performers
met with a similar, or, perhaps, worse treatment. At
that time ' Stage players, were declared to be Rogues
and Vagabonds by the three Estates of England met ui
Parliament, and ordered to be sent to the House of
Correction to be imprisoned, set on the Stocks, and whip'd,
and if they continued to Play notwithstanding, that they
should be burnt with an Hot Iron of the breadth of an
English Shilling with a great Roman R in the left shoulder
which shoidd there remain as a perpetual mark of a Rogue. I f
they continued obstinate they were to be Banished, and
if they return'd again, and continued incorrigible they
were to be executed as felons.' The italics are mine. Yet to
this and other Acts, both before and after, the law gave
exceptions, as in the case of the companies of Royal players,
and to those who were specially licensed to perform as servants
of the several noblemen, such as the Earls of Leicester, Essex
and others.
According to the Corporation Records for the year 157 1
' pleyes of dawnsyng ' were given in the ' comyn hall,' called
* (as) of old time Lady Hall 'X in order to supplement
• The John Rile referred to was John Royle, who was appointed about 1592 master
of the free grammar school of Liverpool. Money at that time was somewhat scarce,
as, in addition to being the schoolmaster he was required to act also as the ' clerk and
ringer of the curfew,' at the reduced stipend of yf7 14s. 8d. The school, which was
for ' poore chyldren y' have no socour,' was afterwards held in the disused chapel of
St. Mary's del Key. This chapel was in existence before 1257. Chapel Street, which has
always been associated with St. Nicholas's, was really so called in connection with
St. Mary's, long before St. Nicholas's was built.
t The High Cross was located near the site of the present Town Hall.
X Porte Mote, I, 14.
6 ANNAI^ OF THE LIVERPOOIv STAGE
wedding and other festivities.* The following is the entry-
referred to : ' We fiynd necessarie for the upholdjoig better and
long continewyng of oure comyn hall of this towne in good
order of reperacion of the same, that noe licence be or shall be
granntyd and gyvyn to make any weddyng diners or pleyes of
dawnsyng therein to the damag3mg, decayng, or falUng of the
floore of the same, and if it chaunce upon any urgent cause
or earnest request not deniable, any licence to be gyvyn
therein, that there by the same licence the partie or parties soe
obteyning licence shall pay to the comyn cooflfer for everie such
licence fyve shiljmgs usual money.' And in the following
year this charge was made and received for four ' Brydalls.'
In 1555 the charge made for a wedding dinner in the hall was
3s. 4d., and in 1558, is. 4d.
* Pleyes of dawnsyng ' were those primitive masques
which were frequently given in those days in connexion with
the marriages of the better classes. This is proven by the
fact that a masque was the only sort of ' play ' of dancing
that could be given on the floor of the hall. All other sorts of
plays required a raised platform. t
At court, even so late as 1630, all the dancing in the
masque took place on the floor of the hall. This is all the more
curious seeing that masques at that time had a regular stage
with movable scener>', and a proscenium front. All the
characters appeared first on the stage, and spoke there, but
they came down subsequently by fronting steps to dance on
the floor. The King and Queen were ranged at the other end
of the hall. But in 1571, and thereabouts, the masques had
not yet attained to the dignity of a stage, and everything was
done on the floor of the hall.
Theatrical performances during the sixteenth century
seem to have been regularly given before the Derby family at
Knowsley and Lathom, but, notwithstanding the magnificence
of Edward, the third Earl of Derby, his household had no
company of players hke other great nobles of his time.
In the diaryt of William ffarington, comptroller of the
household to the third and fourth Earls of Derby§ one finds
• This was the second Town Hall, and like its predecessor, the religious hospice of
the Blessed Virgin Mary, was also situated on the east side of Juggler Street, after-
wards High Street.
t A picture of a wedding masque can be seen in the National Portrait Gallery, the
f estivities being in celebration of the marriage of Sir Henry Unton, who died in 1596.
X Chetham Society's publications, vol. 31.
§ Margaret, wife of Henry, the fourth Earl of Derby, was the patroness of two dis-
tinguished writers of the time — Thomas Lupton and Robert Greene.
ANNALS OF THE LIVERPOOL STAGE 7
the following entries relating to theatrical performances at
Knowsley : —
September, 1589 — ' Queen's players came, and played at
nyghte, my L? of Essex'* came.'
September, 1589 — ' Sondaie, Mr. Leigh preached and the
Queen's Players played in the afternoone, and my L. of Essex'*
at nyghte.'
February and June, 1590 — ' Players again at New Park
and Knowsley.'
Although ffarington does not mention that the Earl of
Leicester's company' played at Knowsley, it is very probable
that they did, as the diarist states that they twice performed
at Lathom House, Lathom, near Ormskirk, in July, 1587. It
is well known that Shakespeare was a member of the Earl of
Leicester's company, and it is, therefore, not impossible that
he, together with the Burbages and other plaj-ers of the period,
visited, and performed in Liverpool. Charles Knight in the
second edition of his ' Shakespeare '* gave it as his opinion that
the poet must have seen ' The Nine Worthies 'f a pageant
peculiar to Chester. To reach Chester from this part of Lan-
cashire, Shakespeare would probably pass through Liverpool
as being the nearest point for departure.
The mention of Shakespeare reminds me that many good
people relying upon internal evidence and alleged ciphers,
cling tenaciously to the idea that Sir Francis Bacon wrote our
poet's plays. Bacon, it is interesting to note, represented
Liverpool in Parliament from 1588 to 1592.
Shakespeare's connexion with the house of Stanley is
shown by an epitaph on the monument erected to the memory
of Sir Thomas Stanley, Knight, second son of Edward, third
Earl of Derby, in Tong Church, Salop, and attributed to the
English Sophocles on the authority of Sir William Dugdale.
Sir Thomas Stanley died December 21, 1576. The inscription
referred to is on the east end of the monument, and is as follows :
'No monumental stone preserves our fame
Nor skye-aspiring pyramids our name.
The memory of him for whom this stands.
Shall outlyve marble, and defacer's hands,
WTien all to time's consumption shall be geaven,
Standley, for whom this stands, shall stand in heaven.'
' • Vol. I, p. 317. t Love's Labour's Lost, Act V, Sc. 2.
8 ANNALS OF THE IvIVERPOOI. STAGE
On the west side of the monument : —
* Ask who lyes here, but do not weep ;
He is not dead, he dooth but sleepe.
This stony register is for his bones,
His fame is more perpetuall than theise stones ;
And his own goodness, with himself being gon,
Shall \yve when earthlie monument is none.'
The beginning of the first line, ' Ask who lyes here,' is
reminiscent of that on Combe — ' If any man ask who Ues in
this tomb.' That the writer knew his ' Shakespeare ' is shown by
a similar sentiment which the Bard of Avon has introduced
into Henry VIII : —
* Ever belov'd, and loving may his rule be !
And when old time shall lead him to his grave,
Goodness and he fill up one monument.'
However, Eyton, the great Shropshire antiquary, doubts
if the last si:c lines were from the pen of Shakespeare. He
considers that they were the work of an inferior poet. The
monument to Sir Thomas Stanley was not erected until long
after his death. It is also a monument to his son, Sir Edward
Stanley, who died about 1632, in which year the monument
was probably erected, for it speaks of his daughters, Frances
and Venetia, as ' yet living,' and the latter died in 1633.
It is well known, that Ferdinando, Lord Strange, took
great interest in the drama and lent his patronage and
his name to a troop of actors. When he became fifth Earl
of Derby, he still kept up his company of players, and
allowed them to ply their calling in other counties besides
Lancashire.
In 1579 I^ord Strange's players performed in Shakespeare's
own town of Stratford-on-Avon, as the following accoimt shows :
* Item paid to my Lord Strange men the xi^*^ day of
February at the comaundement of Mr. Bayliffe . . . v'.'
This sum was paid out of the funds of the Corporation of Strat-
ford for theatrical performances. I^ord Strange's men were a
little better paid than ' my Lord of Worcester's players ' at
Stratford in 1577, as they only received three shillings and
fourpence.
ANNALS OF THE LR^RPOOL STAGE 9
In 1579 the gratuity bestowed at Stratford-on-Avon upon
' the Countys of Essex's players ' was fourteen shillings and
sixpence, but in the following year ' The Earle of Darbyes*
players' only obtained eight shillings and fourpence. In
1569, when John Shakespeare (our poet's father), was chief
magistrate of Stratford a payment of nine shillings was made
to the Queen's players, and of twelve pence to the Earl of
Worcester's Players. In 1573 the Earl of Leicester's players
received six shillings and eightpence, and the following year
(1574) Ivord Warwick's company received as much as seventeen
shillings, t It must, of course, be remembered that money then
had at least five or six times its present purchasing power.
About 1590 the players who performed under the patron-
age of Ferdinando, I^ord Strange, appeared in a play, entitled
Fair Em, the Miller's Daughter of Manchester: With the Love
of William the Conqueror. The author of this ' pleasant comedie'
is unknown, but it has been attributed to Shakespeare. In
Act III, Sc 4, of the play, Mountney, one of the characters,
says : ' Since fortune hath thus spitefully crost our hope, let
vs leaue this quest and harken after our King, who is at this
daie landed at Lirpoole.' This, it is interesting to note, is the
earliest reference in an English dramatic work to Liverpool. It
is also worthy of note that vShakespeare was a member
of Lord Strange's company. This is sho\\Ti by an account of
the 3'ear 1593, belonging to the Treasurer of the Chamber, in
which our poet's name appears after that of Kempe, and before
that of Burbage.
Robert Greene, the dramatist, dedicated to Ferdinando,
Earl of Derby, his poem Ciceronis Amor. Tullies Lone. To
this nobleman and his Countess, Spenser, Nash, Harrington,
Davies, :\Iarston, and at a later period Milton, all recorded
their attachment and respect.
Ferdinando died in 1594 — a victim, it was believed, to
the potent powers of witchcraft, but he was more probably
poisoned. He was succeeded by his brother, William, the
sixth Earl of Derby,. t who was not only a patron of the drama,
but also a writer of plays. To the latter one finds a very in-
teresting reference in a letter from George Fenner to his
* Henry, fourth Earl of Derby.
t -Accounts of the Chamberlain of Stratford-on-Avon.
t Elizabeth, wife of Earl William, performed in Marston's entertainment at Ashby-de-
la-Zouche in j6o7 : and in Ben Jonson's masques of Blackness (1605), Beauty (1608),
Queens (1609J, and in Tethys Festival (1610).
10 ANNALS OF THE LIVERPOOL STAGE
partner, Balthazar Gybels, at Antwerp, under date June 30,
1599. It is as follows : — ' Our Earl of Darby is busye in pen-
ning commodyes for the commoun players.'*
Earl William has been claimed by James Greenstreet in
' The Genealogist 't as the author of Shakespeare's most import-
ant plays. Of the truth of this statement Mr. Greenstreet
felt fully convinced after painstaking research among the
State Papers.
Bidston Hall, Cheshire, was built by Earl William soon
after he succeeded to the estates. Subsequently he made over
the most of his property to his son. Lord Strange, and passed
the summer months at Bidston Hall, and the winter at Chester,
until his death in 1642.
In 1630, Lord Strange, performed in Ben Jonson's
masque of Love's Triumph Through Calipolis, and in the
same year Charlotte de la Tremoille, Lady Strange, was
one of the fourteen nymphs in the masque of Chloridia by
Ben Jonson. After he had become the seventh Earl of
Derby this member of the family played a prominent part
in the Civil War, and closed his noble career on the scaffold
at Bolton, The name of his Countess is familiar to most
of us as the brave defender of Lathom House.
Prince Rupert, who engineered the siege of Liverpool in
1644, had, it is interesting to note, several players in his army.
Three of them were Burt, Shatterel, and handsome and digni-
fied Charles Hart. The latter was to become the first
lover of ' prett>% witty ' Nell Gtn^ti. This was before Mistress
GwATi became the favourite of Charles II. Hart, who was
Shakespeare's grand-nephew.had been the apprentice, or ' boy,'
of one Robinson — an actor contemporary with Shakespeare —
who met his death at the taking of Basinghouse in 1645.
A theatre is mentioned by Troughton X as existing in Liver-
pool as early as the seventeenth century. He says : — ' Dur-
ing the reign of Charles the First, a small building for the
exhibition of dramatic entertainments stood in a court at
the bottom of St. James Street ; but at the time of the Civil
War it was shut up, and continued unoccupied until the Res-
• state Papers, Domestic Series, Elizabeth, Vol. 271, No. 34.
t Vide ' A Hitherto Unknown Noble Writer of Elizabethan Comedies ' (Vol. VII, Part 4),
' Further Notices of William Stanley, sixth Earl of Derby, K.G., as a Poet and Dramatist '
(Vol. VIII, Part I) ; 'Testimonies against the Accepted Authorship of Shakespeare's
Plays ' (Vol VIII, Part 3).
t ' His-.ory of l,iverpool,' p. 98.
ANNAI^ OF THE IvIVERPOOL STAGE ii
toration.' Sir James Picton* denies Troughton's assertion,
simply because no such named street existed in the reign of
Charles I. It is quite true that James Street and St. James
Street were not in existence in the time of Charles I, in
fact, they were not made imtil some considerable period
later.
Now Troughton's ' Liverpool ' is dated 1810, and at that
time James Street had been some years in existence. There-
fore, when he referred to a theatre which ' stood in a court at
the bottom of St. James Street,' I think he intended to convey
the idea that it was located near the bottom of what is now
known as James Street. That Troughton meant James Street,
and not St. James Street, is shown in his reference to the great
storm of 1768, when he states that the cellars of the houses in
Water Street, Moor vStreet, and St. James vStreet were flooded,
all these streets being in close proxirait}^ to one another.
Stonehouse in his ' Streets of Liverpool 'f says that ' in or
about the time of Charles the First there was an uncovered
theatre of some sort, at the bottom of Redcross Street. It
stood on the site of part of the Carron Iron Warehouse in
James Street.' As a matter of fact the Carron Company
never had an establishment in James Street.
Stonehouse in an article on the ' Dramatic places of Amuse-
ment in Liverpool a Century ago't further elaborated Troughton's
original statement by maintaining that ' The first theatre, or
building devoted exclusively to dramatic performances, of which
there is any positive mention made, was erected about 1641 [temp.
Charles I), on the ground now (1852-3) occupied by a portion
of the Coalbrookdale Company's premises, at the back. It
stood between the present James Street and Redcross Street,
or Tarleton's New Street, as it was formerly called. This
building, of which, however, we have but ver^' imperfect notice,
was constructed of frail materials, and was only used by strol-
ling companies, who came to Liverpool from the north on
their road to Chester and other places. The interior of this
theatre would present to view the same aspect as do all the
prints of the Globe (r) on the Bankside, where we find the most
distingmshed of the audience seated in a sort of boxes at the
• lleinoriaJs,' Second edition, Vol. II, p. 90.
t Third edition, p. 58.
j Transactions of the Lancashire and Cheshire Historic Society, Vol. V, p. 192.
12 ANNAIvS OF THE I^IVBRPOOIv STAGE
side, or on chairs on the stage, while the pit is unbearded, and
the audience there are standing on the bare ground.'*
The hypothetical Ijverpool theatre dealt with by Ston^-
house is also referred to in the Annals in ' Gore's Directory '
as being in existence in 1640. All these uncorroborated
statements have been based on the few lines written by
Trough ton. Apart from the fact that neither Troughton
nor Stonehouse gives any authority for his statements I am
of opinion that there was no structure in Liverpool exclusively
set apart for the exhibition of dramatic entertainments at
the period dealt with.
About the middle of the seventeenth century the three
streets of the town towards the river side, Moor Street, Water
Street, and Chapel Street, were but scantily covered with build-
ings Redcross Street was not opened until about 1674, and
James Street not for some years later. Troughton's statement
gives one the impression that there were a goodly number of
])uildings in and about James Street. That the theatre, if it
ever existed, should have been in a court when there was
plenty of vacant ground thereabouts is not very- conceivable.
Besides, at that time there was no need for the establishment
in the town of a permanent Temple of Thespis, as Troughton
presumed it to have been. Visiting players were glad enough
to perform an>^vhere. All they wanted was a remunerative
audience. That the town possessed an early, but primitive
theatre, I shall endeavour to prove. But like the first theatre
in Drury Lane, London, t its primary institution was not due
to a love for the drama, but to a taste for the ancient sport of
cockfighting.
THE COCKPIT YARD THEATRE.
In 1567, it was ordered by the local authorities that ' For
further and greater repair of gentlemen and others to this
town we find it needful that there be a handsome cockfight-
pit made.' X
* stonehouse must have drawn upon his imagination for some of his facts. No authentic
view of the interior of the Globe is known of by the most expert stage historians.
t This theatre was called the Cockpit. When it was first used as a playhouse is not
known. It was a private, and, therefore, an aristocratic theatre. On Shrove Tuesday,
1616-17, the London apprentices sacked and set fire to the house. It was afterwards re-
built, and named the PhcenLx.
i Corporation Kecords.
ANNALS OF THE LIVERPOOL STAGE 13
The cockpit referred to is identical with the one which
was located in Cockpit Yard, between Moor Street and the
Old Ropery.* Cockpit Yard, I may mention, was a thorough-
fare between the end of Drury Lane and ]\Ioor Street, f
afterwards built up.
Sir James Picton observes in his ' Memorials'^ that'' on
taking down some old buildings at the top of Shaw's Brow, in
1868, the remains of a cockpit, having a sunk area, with tiers
of benches round, cut in the rock, were laid bare. This may
probably have been the relics of the one in question.' As a
matter of fact, the cockpit ordered to be made in 1567 was
for the ' further and greater repair of gentlemen and others
to this town.' The town at that time, and for many years
afterwards, did not extend eastward as far as Shaw's Brow.
That the town was only of small extent in 1567 is proven by
the following entry in the Corporation Records : — ' The
Cattle [Market to be held at the Castle, and not in the town.'
When the cockpit in Cockpit Yard was first used for
dramatic entertainments I am unable to say. It may have
been so employed as early as the sixteenth century, certainly
not later than the seventeenth. Mains continued to be
fought as a relief to Thalia and IMelpomene until a late
period.
According to that mine of information, the unpublished
MSS. of John Holt and IVIatthew Gregson,§ the Cockpit Yard
playhouse was the first humble building in which were exhibited
theatrical entertainments. The italics are mine. It is sig-
nificant that these authorities make no mention of the theatre
referred to by Troughton and others as being in a court at the
bottom of James Street in the reign of Charles I.
The size of the Cockpit Yard Theatre was 50 feet by 20
feet. It had a gallery, while further accommodation, as in
other early English theatres, was provided by benches placed
* ' This Cockpit ' says John G. Underhill in his unpublished MSS. in the I^iverpool Free
Library, ' was in Moor Street. After it fell into disuse, a more commodious place was
provided in Cockspur Street, Vauxhall Road.'
t ' In this street,' mentions W. G. Herdman in his ' Pictorial Relics of Ancient Liverpool,'
'dramatic entertainments were exhibited soon after the reign of the first Charles.' Herd-
man infers that performances took place in a large mansion in Moor Street. Dramatic
entertainments maj' have been given in the house referred to by Herdman, but there is no
evidence to show that it was ever used as a regular theatre.
X Second edition, Vol. I, p. 56.
§ The MSS. are now in the Liverpool Free Library. John Holt, who was schoolmaster of
Walton, was born in 174 3 and died iniSoi. He bequeathed his collections for a local history
to JIatthew Gregson, who died in 1824, aged 75.
14 ANNAI^ OF THE LIVERPOOL STAGE
on either side of the stage. The walls of the auditorium
were whitewashed, and candles were the only illuminants
used.
It may have been the Cockpit Yard Theatre that Nicholas
Blundell, the Squire of Crosby Hall, visited on May 13, 1706.
In his diar>-* he does not state where the theatre was situated,
but simply records his visit in the following manner : ' My
■wife and I went to Leverp : and saw Acted The Earl of Essex.
We came home about two of y^ clock in y* morning.' On
July 29, 1708, he ' saw y* Souldier's Fortune Acted in Ri: Harris:
Bam,' (Crosby)t On August 13, 1708, ' the actors of The
Souldier's Fortune came hither (Crosby) and sung the Gigg.'
On May 27, 1709 : ' The She Gallats was Acted imperfectly in
ye Hall (Crosby). In Liverpool, on June 15, 1710, he witnessed
Sephonisha ; or Haniball's Overthrow. The entry for February'
25, 1712, states that ' The Souldier's Fortune was Acted at Mrs.
Ann Rotherwell's in this Town (Crosby). My wife went with
me both to ye Play and Gigg. The actors of ye Play were :
Thos. Farer (Sir Davyd Dunce), W? Marrow (Captain
Bewgard), Watty Thelw : (Sir Jolly Jumble) &c.' On April 21,
1712, ' My wife and I saw part of ye Play called ye Schoole of
Complimentsl Acted at He : Bushell's by a Company as came
from towards Scarisb(rick).' Here we have direct evidence
that Lancashire in the early eighteenth century was occasion-
ally visited by itinerant players.
June 23, 1712. — ' I went to Leverp : and saw Acted in ye
Castle the Play called ye Yeoman of Kent.'^ This performance
doubtless took place in that portion of the Castle which was
used as an assembly room. This is the first time the diarist
records the place where he saw a play acted in Liverpool. He
also records that on October 12, 1714, ' One from Leverp :
brought a Ticket for my Wife of the Play as is to be acted there
to-morrow.' To bring a ticket for the Squire's wife was per-
haps an ingenious ruse on the part of the players to secure the
patronage and presence of the Squire himself at their perform-
ance. On the following day (October 13), he writes : . . .
• ' Blnndell's Diary," edited by the Rev. T. Ellison Gibson, Liverpool, 1895.
t The Soldier's Fortune was a comedy by Thomas Otway (1681).
t The School of Compliments was a comedy by James Shirley (1658). Its original title
•was Love Tricks ; or the School of Compliments. For details of tlie plot see Genest's
^ Some Account of the English Stage,' Vol. IX, p. 545.
§ P. 103.
ANNALS OF THE LIVERPOOL STAGE 15
' Then went to ye New Market where we saw a Play Acted called
Mackheth.''* The New Market was formerly the Old Castle of
Liverpool, then altered for the purpose of a market.
The Cockpit Yard Theatre was, probably, the old crazy
warehouse, referred to by Charles Lee Lewes in his 'Memoirs.'!
Lewes also mentions that a company under the leadership
of John Heron, of intriguing memory, performed in Liverpool.
He further tells us that * the company's success was great,
exceeding the receipts of any former season. During a run of
The Tempest for five nights, they seldom took less than
twenty pounds ; and at the benefit of Tottenham Wright, a
favourite actor, the receipts amounted to twenty-seven pounds
fourteen shillings and sixpence. I am afraid my readers will
imagine I cannot be serious in this relation, but there are
several now living who will subscribe to the truth of it. But
lest I should be suspected of advancing anything which might
induce the present generation to form any idea of a sordid
disposition in the wealthy inhabitants of that hospitable town
(Liverpool), I declare it as my opinion, that neither lack of
spirit or taste was the cause of such scanty receipts at their
theatre in those days. On the contrary- it was an eminent
proof of their true taste and discernment, by their soon after
giving great encouragement to Mr. Gibson,! who brought a
regular company to their town.'
The Cockpit Yard playhouse remained standing for a
number of years, and was used as a theatre even after a more
commodious one was opened in the Old Roper>'. Afterward s
it was used as a cowhouse by one Lees. ' The beam which
supported the galler>',' says the Holt and Gregson MSS., ' is
yet to be seen, also a door through which it is probable the
spectators ascended out of the street into the galler>'. There
is also some remaining whitewash in small parts on the walls.'
Apparently the building was in existence as late as the com-
mencement of the nineteenth century, as it is referred to by
Troughton as being still ' frequently used for a cockpit. '§
At a later date Gregson in his MS. additions to Enfield's
'History of Liverpool' states that the Cockpit Yard Theatre
• p. 129.
t ' Memoirs of Charles I,ee Lewes ' (1805), Vol. I, p. 43.
t William Gibson.
§ Trough ton's ' I,iverpool ' (1810), p. 98.
i6 ANNALS OF THE I.I\TiRPOOIv STAGE
' behind a house in Moor Street,* where IVIr. Hesketh Hved, and
leading into Drur>' Lane, has now been pulled down, and
a com warehouse built upon the site.'
THE BLACKBERRY LANE THEATRE.
This early playhouse, according to the Holt and Gregson
MSS., was more generally known by the name of Hugh Davies's
Cockpit, which, in a word, suggests its origin. The theatre
was situated on the left-hand side of Blackberry' Lane, coming
from Dale Street. Blackberry Lane was afterwards called
William Street, and is now known as Eberle Street.
' Mr. Houlston 'f says the Holt and Gregson MSS., ' re-
membered that a company of players performed here in The
Tempest for thirty nights without intermission, that the
machinery was good, and that the performances gave great
and general satisfaction.'
Sir James Picton in his 'Memorials'! refers to an Irish
company of players, who, in 1745, performed in this theatre.
Picton, I think, obtained his information from the Holt and
Gregson MSS. In the I\LSS., no exact date is given (except the
vague one of ' fifty 3'ears ago '). Holt and Gregson first say
that the Irish players appeared at the Blackberry' Lane Theatre,
but this statement is corrected later on and the actual place of
performance shown to be the Old Ropery Theatre. The players
referred to were those that came over from Dublin for Preston
Guild. The only date at all applicable for their appearance in
Liverpool is 1742, which was a Guild year — not 1745, as Picton
has it.
Beyond the fact that the theatre was afterwards con-
verted into a warehouse, I have never been able to discover
any further particulars, and am, therefore, unable to state
when the playhouse terminated its career.
THE OLD ROPERY THEATRE.
This structure, which consisted of two large rooms, was
built by Alderman Thomas Steers, the constructor of the Old
* Curiously enough the majority of the Liverpool historians erroneously state that the
theatre was in Moor Street.
t Probably Dr. Houlston, author of a treatise entitled ' Wverpool Spa Water ' (i773).
and other works.
X Second edition, Vol. II., p. 91.
AXNALS OF THE LR-ERPOOL STAGE 17
Dock. The theatre was situated on the ground floor, and the
rent of the room was about £2^ yearh*. The room above the
theatre was used by a Mr. Carson as a dancing academy.
The theatre itself was also used as a dancing-room, and as an
assembly room, where wire dancers occasionally exhibited,
and finally, as a Roman Catholic chapel.*
\\Tien the theatre was first opened I cannot say with cer-
tainty, but am incUned to think its genesis dates from circa
1740. That this surmise is not mere guesswork is shown by
a letter, one of a series, written by an inteUigent Londoner, in
1741, to several friends, and published anonymously in Dublin
in 1746. The title page of the Httle work in question records
that it is : — *A Tour Through Ireland in several Entertaining
Letters WTierein The present Stateof that Kingdom is considered;
and the most noted Cities, Towns, Seats, Rivers, Buildings.etc,
are described. Part I. Humbly Inscribed to the Physier-
Historical Society. Dublin : Printed for Peter Wilson, at Guy's
Head,oppositetheSpringGarden,in Dame Street. MDCCXLVI.'t
The extract referred to is as follows : — ' They (the Liver-
pohtans), have their Musick-Meetings, AssembHes, etc., and a
neat theatre that maintains a set of comedians for four months
in the year very well.'
How the foregoing particulars came to be written was
owing to the writer having to wait at Parkgate for a favourable
wind to take him to Ireland. It appears he had exhausted
all the sights of Chester, and then bethought himself of Liver-
pool, of which he givest the following pen-picture : —
' The obstinacy of the wind made time hang heavy on our
hands, therefore we resolved to take a cursory- view of Liverpool.
We set out at Four o'clock in the morning, and got over the
Ferry at six ; though it was so earl}- we found ever>- shop open,
and almost as busy as the Exchange in London at noon. The
first Person we saw . . . was Mr. F. . . . and while Dinner
was preparing shewed us the most remarkable Places in this
opulent To\\Ti, and which I am of opinion few of our Cities,
after the Metropohs, can exceed in size. It is not orbicular,
as Chester is, but, I am sure, more extensive in its irregularity
of Buildings. It is divided into two parts, the one called the
Old, and the other the New. The last has many well-built
* Holt and Gregson MSS.
t Probably an earlier edition of the work was published in I/)ndon.
tP. 33.
i8 ANNALS OF THE IvIVERPOOL STAGE
Structures. The Quay is also very spacious, and has a Face
of Business that seems surprizing. There was a Man-of-War
on the Stocks, almost finished, that is to mount fifty guns, to
which this town, they say, is to stand Godmother and give
her its own Name . . . We were informed their Malt Liquor is
chiefly brewed with Salt Water, which to us seemed strange,
yet I could not distinguish it by the taste.'
The warship referred to was christened the * Liverpool.'
According to the Admiralty Records she was a vessel of 40 guns,
and was built here by Mr. Okill. Building operations were
commenced on June 2, 1740, and the launch took place on
July 19, 1741.
At the end of August, 1742, an excellent company of
players arrived in Liverpool from Dublin on their way to
perform at Preston Guild. ' Faulkner's Dublin Journal,' for
August 24, 1742, says : — ' Yesterday Messrs. Delane, Garrick,
and Ame, and Mrs. Gibber embarked for England ; and the
Company of Comedians belonging to Smock Alley Theatre will
sail for Liverpool this day in order to entertain the nobility
and gentry at Preston at the Jubilee, which is said to be held
there once in 20 years.'*
Peg Woffington had just been acting in Dublin with Gar-
rick. At the end of the Dublin summer season, she had to
return to London to open in the autumn at Co vent Garden.
Why then did she not go back with Garrick, seeing that Davy
and she were then lovers ? The inference would be that she
had been persuaded by the Smock Alley Company to accom-
pany them to Preston Guild, from whence she could easily
repair to London. If she had not made this arrangement I
see no reason why she should not have returned with Garrick.
The Smock Alley Company were detained by contrary
winds on their passage over, consequently they arrived in
Liverpool too late for the Preston Guild festivities, which com-
menced that year on August 30, and lasted a fortnight. The
finances of the Smock Alley Players being exhausted on their
arrival in Liverpool, they obtained permission from the Mayor
of Liverpool to perform in the Old Ropery Theatre, and to
solicit the gentry in the town to patronise their performances.
• Garrick sailed from Dublin on August 23, 1742, on board ' The Lovely Jane,' for Park-
gate ; so he, Delane, and the rest did not intend to go to Preston. Probably the engagement
only extended to the ordinary stock company of the Smock Alley Theatre.
ANNAI^ OF THE LIVERPOOL STAGE 19
Success so attended their efforts that they were induced to
come here the following year.*
Apropos of charming Peg WofTington's appearance with
tiie Smock Alley Company at the Old Ropery Theatre in 1742,
the Holt and Gregson MSS. mention that * Mrs. Williamson
(mother of Captain Ralph Williamson), the reigning Queen of
the Assembly,! bespoke the play of The Fop's Fortune.' In
this play Peg Woffington had acted the part of Angelina at
the Smock Alley Theatre, during the season of 1742. J
The Smock Alley Company in 1742 included Messrs.
Elrington, Giffard (formerly of Goodman's Fields), Wetherilt,
Henry Delamain (a dancer), Tom Walker (the original Captain
Macheath), Mrs, Fumival, a brilliant actress, and Mrs. Chet-
wood, wife of William Rufus Chetwood, the famous prompter.
This is only a selection ; there were, of course, several others.
The company re-opened in Dublin on November 8, so their
stay in Liverpool must have been limited to only a few weeks.
I cannot say if the vSmock Alley Company came after 1743.
They may have done so, but I cannot find any account of
their having appeared again in Liverpool. I have, however,
long been of opinion that in the early period of the Liverpool
stage there was some connection between it and the Dublin
stage. Curiously enough, Liverpool had a Smock Alley. It
was a court off Chorley Street. §
The absence of play-bills and newspapers of the period
unfortunately prevents us from knowing the names of the
players who appeared in the Old Ropery Theatre. Hitchcock
however, in his ' Historical View of the Irish Stage,' states that
during the summer of 1759 the majority of the players of the
Crow Street Theatre, Dublin, crossed over to England in a
body and visited Chester, Manchester, Liverpool, etc. The
period would be between the end of June and the beginning of
October, the usual Dublin recess at that time. Among the
itinerantsHitchcock only makes mention of Mr. andMrs. Dancer,
* Holt and Gregson MSS.
t The Queen of the Assembly held her court in the Town Hall, then known as the Ex-
change. Derrick, in a letter dated August 2, 1760, to his patron, the Earl of Cork, says :
' The Assembly Room, which is also upstairs, is grand, spacious, and finely illimiinated :
here is a meeting once a fortnight to dance and play cards ; where you will find some women
elegantly accomplished, and perfectly well dressed. The proceedings are regiilated by a
lady styled the Queen, and she rules with absolute power.'
t Genest's ' Some Accoimt of the English Stage ' Vol. X, p. 317.
§ The Improvement Act of 1786 gave power to do away with Smock Alley, mentioning
i t by name. This, and other courts, between Castle and Chorley Streets were swept away
when Bnmswick Street was made.
20 ANNALS OF THE LIVERPOOL STAGE
Mr. and IVIrs. Jefferson, Mr. and Mrs. Kennedy, Isaac
Sparks, and Mr. Carmichael. Mrs. Dancer was afterwards Mrs.
Spranger Barry, and finally Mrs. Crawford. The Jeffersons
were, I believe, ancestors of the celebrated Joe, of Rip Van
Winkle fame. Isaac Sparks was an excellent low comedian
of the W. J. Hill and Harry Monkhouse build.
Hitchcock does not mention where the Crow Street players
performed in Liverpool. It is quite possible that they played
in the Old Ropery Theatre, inasmuch as the principal theatre
in the town, the one in Drury Lane, would at that time be
occupied by other players. The Crow Street itinerants could
of course, have performed in the Cockpit Yard Theatre, or in
the one in Blackberry Lane, but I think it rather unlikely
that they did. The Old Ropery Theatre was subsequently
made into a warehouse.
THE DRURY LANE THEATRE.
Drury Lane was so called in emulation of the metropolitan
Temple of Thalia and Melpomene of that name, and for a
similar reason the style and title of Covent Garden was'bestowed
upon an adjacent thoroughfare. The first Drury Lane Theatre
in Liverpool was opened in 1749 or 1750.* It was situated
on the east side of a new thoroughfare called Drury Lane,
between the Old Ropery and what is now known as
Brunswick Street, and was a plain brick building about
27 yards long and 16 yards broad.
The house had a pit and gallery, but no boxes. Ad-
mission to the pit could be obtained on payment of two shillings,
and to the gallery for one shilling. The gallery extended
some distance over the pit, and was the best place for witness-
ing the performance. Over the proscenium there was painted
Totus Mimdus Agit Histrionem.
As in the Cockpit Yard playhouse there were seats on either
side of the stage for the accommodation of the more privileged
spectators. The stage and auditorium were lighted by candles
fixed in circular wooden frames, suspended from the ceiling
and snuffed between the acts. WhenGarrick went to France and
• Holt and Gregsoo MSS.
ANNALS OF THE LI\^ERPOOIv STAGE 21
Italy lie found the stages there lighted by oil lamps stationed
behind the wings. On his return to London he introduced
this hidden mode of lighting into the metropoUtan theatres.
Candles, however, continued to be used at the local Drurv-
Lane Theatre until the opening of the Theatre Royal by Let-
ters Patent, in Williamson Square.
The players had no dressing-room accommodation at the
local Drury Lane Theatre, and they had to attire themselves
as best they could. Needless to say there was no Green Room ;
in fact they had no other place of resort than a bench behind
the scenes.*
According to the metropolitan custom of the time, two
soldiers taken from a regiment stationed in the town were
hired at one shilling each per night, to stand on either side of
the stage to keep order. They took up their positions im-
mediately before the performance, and with hands resting on
their firelocks stood like statues until the final fall of the old
green curtain.
Sir James Picton erroneously states in his ' Memorials 't
that the theatre had boxes from the very outset, and that it
was opened with the comedy of The Conscious Lovers, and the
farce of The Lying Valet. It is also important to note that
the majority of our local historians and annalists are inaccurate
with regard to the date of the initial performance.
' In June, 1759, the Drury Lane Theatre was opened with
the tragedy of The Orphan, but it is certain that about the
middle of the last century, and several years before 1759, a
theatre, or a building used as a theatre, existed somewhere in
Liverpool.' — Brooke's ' Liverpool,' p. 81.
' In the beginning of June, 1759, the new theatre was
opened in Drury Lane.' — Troughton's ' Liverpool,* p. 141.
' The theatre, Drury Lane, opened with the tragedy of
The Orphan, 1759.' — ' Gore's Directory Annals.'
' In 1759, a new theatre, erected in Drury Lane, was
opened on the 8th of June, with the tragedy of The Orphan.'
— Smithers' ' Liverpool,' p. 323.
' This theatre was opened in 1759.' — Stonehouse's ' Streets
of Liverpool,' third edition, p. 57.
Clear proof of the existence of the house prior to 1759 is
afforded by ' Williamson's Liverpool Memorandum Book,'
• Holt and Gregson MSS. t Second edition, vol. II, p. 91.
22 ANNALS OF THE LIVERPOOL STAGE
for 1753, in which it is definitely referred to as the ' Playhouse
in Drury Lane.'
Liverpool was for many years a popular seaside resort,
and to the ' good old town ' numerous well-to-do families came
for the bathing season. The floating population in the dog
days was, therefore, greatly augmented. This fact was known
to the players generally, and the Theatres Royal in London,
being closed during the summer months, the players used to
journey here to turn an honest penny in their off season.
The joint managers of the theatre for some years were
Messrs. Gibson and Ridout, both members of the London
Covent Garden Theatre company. I am unable to say when
Gibson first became associated with local theatricals. Lee
Lewes, who knew him personally, says that Gibson 'was bred a
Quaker, and brought up in the most rigid discipline of that sect
till the pomps and vanities of this world drew him off from the
precise rules by which he had been hitherto used to square his
life. The many hotbeds which are to be found in Covent
Garden, and the purlieus thereof, soon ripened in him the seeds
of degeneracy, and, as he became a constant visitor to both the
theatres, the spirit gave way to the flesh, and soon rendered
him a proselyte to the doctrines of Otway, Dryden, etc. The
simplicity of his original discipline was not so wholly erased,
but that the Quaker was still legible, and rendered him a ludi-
crous mixture of gravity and stage buffoonery. He had been
for some time weaning himself from the peculiarities of the
speech and garb of the Quaker, and with facility both dressed
and spoke like a man of the world. The stage, with all its
fascinating charms, was looked forward to by young
Gibson, but with the same impediment which hindered
Farren* from an engagement at Liverpool, lay in the way of
Gibson in London. But getting acquainted with Messrs.
Bridgewater and Hippisley at a tavern in the Garden, and
the houses being near their closing for the season, they were
far from discouraging our new made Christian, they rather
commended his spirit, and the droll Hippisley, being upon the
eve of opening his theatre at Bristol, he offered him a situation
in his corps, with a promise of instruction and protection,
while he should remain with him. The old gentleman kept his
* George Farren, father of Elizabeth Farren, afterwards Countess of Derby.
ANNALS OF THE LIVERPOOIv STAGE 23
word ; and when he was recalled to his town engagement, he
gave the young man a letter of recommendation to Mr. Dennis
Herbert, with whom he remained a considerable time. His
figure was a good one, and he was blessed with a prepossessing
countenance, which gained him much applause, especially in
the soft-sighing lovers. Particular circumstances induced
him to apply for a London engagement, which he without
difl&culty obtained from Mr, Rich, where he remained for a
long course of years, performing a respectable line of business
. , . he was a man universally respected, and remarkable for
his' probity and philanthropy.'* In a foot-note, Lewes jus-
tifies his employment of the epithet, ' new made Christian,'
by pointing out that Gibson had never been baptised until he
was received into the Church of England at an age bordering
on thirty.
Genestt states that Gibson made ' his first appearance in
a public theatre ' at Covent Garden, on September 17, 1739,
when he played Bellmour in The Old Batchelor. This, I think,
is an error, as Gibson must have served some apprenticeship
to the stage before he trod the boards of Covent Garden
Theatre. The reference is, I think, to Gibson's first appearance
in a London theatre. Gibson was a member of the Covent
Garden Company for many years. WTien Peg Woffington
made, under tragic circumstances, her last appearance on
the stage on May 3, 1757, at Covent Garden, in As You
Like It, Gibson was in the cast as Adam. Hugh Kelly in
his ' Thespis ; or, A Critical Examination into the minds of
all principal performers at Covent Garden Theatre X ' gives
us some information as to Gibson's merits as a player : —
' Were sterling sense, or excellence of heart,
For fame's bright goal in Thespis bound to start ;
Say, above Gibson who could think to rise.
Or urge a nobler title to the prize ?
But fate, perhaps, w^hen Gibson first possest
The strong conception, and the feeling breast,
Suppos'd a voice was quite below his care,
Or never once design'd him for a play'r —
Yet though in parts of energy and fire,
She ne'er permits him boldly to aspire ;
* ' Memoirs of Charles Lee I,ewes,' (1805), Vol. II.
t Vide op. cit., Vol. Ill, p. 617. J Book II.
24 ANNALS OF THE LIVERPOOIv STAGE
And tho' that note's harsh, dissonance of jar
With quick-soul'd sense holds ever-Hving war;
Still there are times, when self-created farce
Subdues even Nature in her stem-ey'd course ;
And Gibson's mind too nervous for her laws.
Appeals to truth, and rises with applause — '
Behold in Prim, what pleasantry we trace
Thro' all that sober, sanctified grimace ;
Where rebel flesh, with countenance demure,
Serenely hot and holily impure.
Betrays a sly concubinary flame,
And steals poor spirit into actual shame —
In Old Rents too, when Hearty, kindly wrong,
Thinks gath'ring grief must vanish at a song,
Then Gibson's face so tristfully is hung,
And holds such hum'rous combat with his tongue,
That ceaseless mirth will laugh herself to tears.
And quite fright the grating in her ears.'
The following curious anecdote of Gibson is recorded in
* The Monthly Pantheon,' for January-, 1809. It is without date,
but it doubtless refers to his connexion with Covent Garden
Theatre. It begins by saying that Gibson was an extremely
inoffensive man, although remarkably intrepid when aroused.
Once the Hon. Mr. Fitzgerald, brother to a noble lord, hissed
him without reason, but on coming behind the scenes after-
wards, apologised for his conduct by saying he had taken too
much drink. He subsequently repeated the offence, and was
well thrashed by Gibson for his impertinence.
David Erskine Baker in his ' Biographia Dramatica ' (1782),
speaking of Lacy Ryan, the Covent Garden actor, says : —
' Indeed all Mr. Ryan's connexions were such as served to show
how far he preferred the society of worthy men to that of more
fashionable characters. He is known to have been a great
walker ; and when he meditated a sally of unusual length, as
often as he could he would prevail on the late Mr. Gibson, of
Covent Garden Theatre, to be his companion. But much ex-
ercise not exactly suiting the disposition and rotundity of this
gentleman (who chose a book and his ease before a stock of
health purchased at the rate of such unmerciful agitation), he
was rarely to be tempted further than the outskirts of London.
ANNALS OF THE LIVERPOOL STAGE 25
Were it our task to describe Mr. Gibson as an actor, justice
would compel us to allow that his mode of utterance (an hab-
itual defect) threw every line he pronounced " into strong
shudders and immortal agues." Yet we should likewise add,
that he was never absurd or ridiculous in his deportment,
unless when driven by the tasteless obstinacy of Mr. Rich into
parts from which no man however skilful, could escape with
reputation. On this account his performance of Aper in the
tragedy of Dioclesian, would have forced a laugh from the
tortured regicide expiring on a wheel. But — cur inficiatus
honor a Arcuerim fama ?
' In a few characters of age and simplicity, he was at once
natural and affecting. We must likewise add that his under-
standing was sound, his reading extensive ; and what should
outweigh all other eulogiums, his temper was benevolent, and
his integrity without blemish. He died in the year 1771, during
one of his annual excursions to Liverpool, where he had long
been the decent manager of a summer theatre, first raised into
consequence by himself, and licensed at his own personal sol-
icitation.'
The acting of Gibson and Ridout was greatly esteemed by
Liverpool playgoers, as the following anecdote shows : On one
occasion two local critics went to see the great little David
Garrick perform. Upon their return they were asked what
they thought of him. ' Oh !' said they, ' Garrick is well
enough ; but he is nothing to Gibson and Ridout.'
Messrs. Gibson and Ridout's management was much com-
mended. Gibson, who was the principal manager, saw
that the company preserved great decorum. A good pay-
master himself, he took care that all debts incurred by the
company should be regularly discharged. There were, however,
several things which did not meet with the approval of local
playgoers. For instance, the doors were opened as early as five
o'clock so that on nights when a large audience were expected,
play -goers had two hours to wait before the play began. There
were seldom more than two new plays, or two new farces
produced during the season. An unknown old play was seldom
revived, and those that were acted were chiefly stock plays.
Actors of superior merit received no particular encouragement
either in the matter of salaries or benefits.
26 ANNALS OF THE LIVERPOOL STAGE
The most advantageous season for the benefit performances
was about August, when the town was full of visitors for the
bathing season. Dice were thrown by the players in order
to determine the precedence of the benefits. Preference was
always shown for a ' bespeak ' on a Monday night, in lieu of
any other evening.
In plays where the characters should have been dressed
in old EngUsh habits only the principal characters were pro-
perly garbed. Richard III was given fitting attire, but
Henry VI, Richmond, etc., wore soiled and threadbare dresses
of the early eighteenth century ; while modern garments were
worn by the actresses.*
The names of those who appeared on this stage between
1749 and 1756 I have never been able to discover. Liver-
pool's second newspaper, ' Williamson's Advertiser ' was not
published until Friday, May 28, 1756, and so far as I am aware
there are no plaj^bills of that period in existence.f
In the first number of ' Williamson's Advertiser,' May 28,
1756, the following advertisement (constituting the earliest
known local theatrical announcement) appears : —
' By Comedians from the Theatres Royal in London, at
the Theatre in Liverpool. During the months of June, July,
and August next, will be perform'd variety of the best Plays.'
N.B. — The days of acting will be Mondays, Wednesdays,
and Fridays.'
The ' Theatres Royal in London ' were the patent houses
to which Royal Letters Patent had been granted. At
that time no theatre in this country could use the title ' Royal,'
except the Theatres Roj^al, Drury Lane, and Co vent Garden,
London. That explains why no title is given to the theatre
in the advertisement just quoted. Even the street in which
it was situated is not mentioned.
What the attraction was for the opening performance of
the season on Wednesday, June 2, 1756, there is nothing to
show. The following plays, however, were advertised in
' WiUiamson's Advertiser ' to be given on Friday, June 4, and on
Monday, June 7, 1756 : —
• Holt and Gregson MSS.
t ' The Liverpool Courant,' published in 1712, was the first local newspaper. I have
never been able to see a copy. The earliest Liverpool newspaper in the British Museum
is 'Williamson's Advertiser,' for September 19, 1766.
At the riicatrc in Drury taiie,
I Ills picRn- !• K I iJ A V : , the 4th. of June will be Aclc<l •. .
A CO M i; \) Y C A L L' D
The Conftant C O U P L E:
O K,
A TRIP to the JUBILEE.
- I . U iULiir. *. Mr. P A L M K R 4 T.m Krrand. *. M'. IIOL T O M.
( - i iJ.ircl. *► Mr. ANDIRSON. ; CV>nn.iblc. /. Mr. WICSI l.L.
\ h Mr. R I DO UT. 4
I -en.' Av \/, SH r TKR. 5 Ladvljirc»cn., 1^. A/.r. BF. NN r. T.
( I > h .\,V. C- V SII I NG. f Ani;clicj. *. Mr-. H A k K R.
\. - ,cr. . >> A/. COl.l.lNS. ( Kjdv Djriing. A, \fr,. C:0 I'KN.
i;,,a.N. A) \/r. B A k 1: R. 4 J'j'lo-- *r V/i/i MLLL\RT.
lo which will be added j l-AKCi:c.ird
The VIRGIN UNMASK D:
An Old MAN taught Wisdom.
Oi>Mc!,,;!. Ar Afr. Redman. 1 \\",.rm>wH>d, /i.Ur. White
!*"'''• *V A7r. Wigncll. I I homas, A)^^. Jloltom.
( 'lupcc, iy Mr. .Shutcr. I
Qiiii'.r. ky Mr. Baker. J Mif> Lucv, Ai Ms. Baker.
Ai/ anv M«j^ unJcr tbfjuU PR I C E :o i: uL-n during the ^ic^ Perj'ormjiice.
Nor any Servants to be admitted into the Gallery withoii: Paying.
11k Gallery Doors 10 be opend at The, and the Pit at Six o'Oxt. 7o trf,in exa^h at SF. /'EJW
PRICES. PIT, two Shill.nss. G A 1. L E R Y, one Shilling.
7.ft/i /a L- bad at the Golden Lrm. th CdJ.ii Talhoi. tl-: C l.ln, l!ee<e. and Pcniach.
No.Fcrlons \\hatc\crcan be admitted behind the Scenes.
V I V A T REX.
^' B I. A D I E S are drfird -wben ibey h,d lo kctf PUes. ic Lt thtir S:r:jnts
'■'T jv ibe number of Places tbey^ant.
LIVERPOOL, Prime ! 1 . S \\ | 1 ; j.
THE OLDEST KNOWN IJVERPOOL PI.AYBILI. (1736).
By kind permission of the Committee of the AtheneEum.
ANNAI^ OF THE LI\^RPOOIv STAGE 27
' By Comedians from the Theatres Royal, in London,
At the Theatre in Liverpool,
This present Friday, June 4th, will be acted, A Comedy call'd
THE CONSTANT COUPLE
or A Trip to the Jubilee,
With a Farce call'd
The Virgin Unmasked.
And on Monday, June 7th, will be acted, A Tragedy call'd
THE LONDON MERCHANT
or The History of George Barnwell
With a Farce (never perform'd there before), call'd
The Cheats of Scapin
Pit, Two Shillings. Gallery, One Shilling
To begin exactly at Seven o'clock.
N.B. — The days of acting are Mondays, Wednesdays, and
Fridays.'
The earliest local playbill that I have been able to discover
is in the Athenaeum Librar>^ Church Street. It was probably
printed to do duty as a ' poster,' as it is of a larger size than
any I have seen of about the same period. Although the
year is not given in the bill this defect is remedied by the
announcement in ' Williamson's Advertiser ' for June 4, 1756,
where the same plays are advertised for performance.
The playbill (a reduced facsimile of which is shown)
states : — ' Nor any Servants to be admitted into the gallery
without Paying.' Down to the year 1759 the galleries in
the London and provincial theatres were free to the servants
of those who had taken places in the boxes. Free admis-
sion for servants was an old custom dating back as far as
the time of the Restoration. A survival of the practice of
sending servants to keep places is found at the present day
in pa^dng boys and youths a few pence for keeping positions
for their patrons in waiting queues outside our theatres.*
• The queue system in I^verpool was inaugurated at the Royal Court Theatre, in
the autumn of 1895.
28 ANNAI^ OF THE IvIVERPOOI. STAGE
On the first production of High Life Below Stairs, in 1759, the
whole race of the domestic gentry were in a ferment of rage at
what they conceived would be their ruin ; and from the upper
gallery to which they were admitted gratis came hisses and
groans, and even handfuls of halfpence were flung on the stage
at Philip, my Lord Duke, Sir Harry and others. This tumult
was continued for a few nights, but ultimately it turned out a
good thing for all theatres, for it gave Garrick, as manager, a
fair occasion to close the gallery against the servants, and ever
after to make all pay who entered it.'*
The ancient custom of adding Vivat Rex and Vivant Rex et
Regina to the playbills, and other theatrical advertisements,
originated in the following manner : —
In Shakespeare's time it was customary for the actors
to kneel down on the stage, and pray for their patrons ; and
in the public theatres for the King and Queen. This prayer
sometimes made part of the epilogue ; as, for instance, in the
epilogue to King Henry IV, Part II. It is also referred to
in the old play entitled The New Custom — ' Preserve our noble
Queen Elizabeth, and her councell all ' ; and in Middleton's
A Mad World My Masters — ' This shows like kneeling after
the play ; I praying for my Lord Owemuch and his good
Countess, our honourable lady and mistress.'
The practice of having Vivat Rex or Vivant Rex et Regina
on old playbills seems to have died out about the close of the
reign of William IV, as on later nineteenth century bills it is
conspicuous by its absence. Although it is only a conjecture
of mine, I may here state that when praying on the stage
after a performance was abandoned, and the Vivat Rex or
Vivant Rex et Regina in after years disappeared from the
playbills, both these two old customs survived in the
playing of the National Anthem in our theatres and other
places of entertainment as the means of dismissing an audience
at the termination of a performance.
A Bold Stroke for a Htisband, which had not been 'acted
these three years,' and The Anatomist ; or The Sham Doctor,
were played on Wednesday, June 9, 1756. Two nights later.
The Committee ; or, The Faithful Irishman, and The King and
the Miller of Mansfield were in the bill. The comedy of Love
• * The Recollections of John O'Keeffe.'
ANNALvS OF THE LIVERPOOL STAGE 29
for Love, with The Comical Humours of Ben the Sailor, and
the farce of The Cheats of Scapin were submitted on Monday,
June 14. On Friday following, the company gave Shakespeare's
Much Ado About Nothing, and The Devil to Pay ; or, the Wives
Metamorphosed. On June 21, The Rehearsal and the farce of
The Lottery were played, and four nights later, The Wonder
with The Double Disappointment. For June 28, the
attractions were the farce of Katharine and Petruchio, and
the tragedy of Tamerlane, which had ' not been performed
these six years.' This is direct evidence that the theatre
was in existence in 1750. On June 30, Tunbridge Walks ; or.
The Yeoman of Kent was submitted. The second of July saw
As You Like It, with Garrick's farce of Lethe. Three days
later Romeo and Juliet with the farce (' performed but once '),
Katharine and Petruchio ; or, A Cure for a Scold, 'taken from
Shakespeare by David Garrick.' On July 7, The Suspicious
Husband was given, and on the 9th, the comedy The Man's
Bewitched was played for the first time. On July 12, Hamlet
was performed, followed two nights later by The Beaux'
Stratagem. The performances on July 16, were The Com-
mittee ; or, the Faithful Irishman, and The Englishman in
Paris. July 19 witnessed The Tragical History of King
Richard III, and two days later Rule a Wife, and Have a
Wife, which was followed by a farce. On July 23 The
Mistake was performed, and on the 26th, the tragedy of
Merope, ' with a procession of a human sacrifice after the
manner of the ancients.' On the 28th, the pantomime
entitled The Cheats of Harlequin was brought out. On Friday,
July 30, the performances of Much Ado About Nothing, and
the farce called The Apprentice were in aid of the local public
charities, the receipts ' to be disposed of by the magistrates.'
It was also announced that on ' Monday next the company
begin their benefits, and will continue acting them every
Monday, Wednesday, and Friday to Monday, September 6,
which will be the last day of their performing this season.'
The bill for August 6, 1756, consisted of The Twin Rivals,
and Miss in Her Teens. These were supplemented by a bur-
lesque cantata, entitled ' The Dust Cart,' given by Mr. Shuter,
who also gave Mr. Hippislev's 'Drunken Man,' and Mr. Foote's
' Tea. '
30 ANNALS OF THE LIVERPOOL STAGE
Shuter was a great favourite witii Liverpool playgoers.
Of ' Facetious Ned ' — as he was called — the following anecdote
is told : On one occasion the absence of a popular actress
excited considerable displeasure amongst the audience at our
Drury Lane Theatre, they caUing for ' Shuter ! Shuter 1 Miss
So and So ! Shuter ! ' Shuter at length came forward and
facetiously declared that if they wanted to ' shoot her ' they
must do it themselves.
The comedian's father was a chairman, and plied his
calling in the purlieus of Co vent Garden. Ned commenced
life as a pot-boy, and was afterwards employed as a billiard-
marker. In 1744, when a mere boy, he commenced as an
actor at Richmond. In June, 1746, as Osric and the Third
Witch he supported Garrick in Hamlet and Macbeth at Covent
Garden. Garrick pronounced him the greatest comic genius
he had ever seen. Shuter was the original exponent of Pap-
illon in The Liar, Justice Woodcock, Druggett, Old Hardcastle,
and Sir Anthony Absolute.
A friend once met Shuter in the street and said to him,
* Why, Ned, are you not ashamed to walk the streets with
twenty holes in your stockings ? Wliy don't you get them
darned ? ' ' No, my friend,' said Shuter, ' I am above it ;
and if you have the pride of a gentleman you will act like one,
and walk rather with twenty holes than have one darned.'
' How do you make that out ? ' ' Why,' said Ned, ' a hole is
the accident of the day, but a darn is premeditated poverty.'
Once when he was travelling to play here the stage-coach
in which he was seated was ' held-up ' by a highwayman.
The only other occupant of the coach was an old gentleman,
who, in order to save his own money, pretended that he was
asleep. The highwaj-man's request — ' Money or your Hfe,'
being repeated, Shuter with a vacant expression on his face,
and the ' Knight of the Road's ' pistol at his head, replied
* Money ! by gad, sir, they never trust me with any ; for my
uncle here always pays for me, turnpikes, and all your honour!'
Upon which the highwayman gave him a few curses for his
stupidity, woke the old gentleman up with a smart slap on the
face, and robbed him of every shilling in his pocket ; while
Shuter, who did not lose a single farthing, pursued his journey,
laughing heartily at his fellow traveller's discomfiture.*
• ' Theatrical Anecdotes.'
ANNALS OF THE LI\^RPOOL STAGE 31
On August 20, 1756, Mr. White, one of the players at the
Drury Lane Theatre, had for his benefit the tragedy of the
Earl of Essex, and the farce of 1 he Englishman in Paris. The
performance conchided with an epilogue on ' Somebody to be
spoken by Nobody.' For Monday, August 23, the bill comprised
Zara; or, Osman, the Emperor of the Turks, ' with an occasional
prologue by David Garrick, Esq., to be spoken by Mr. Palmer,
in the character of a Drunken Sailor. And an epilogue (in
character) addressed to the Society of Bucks in Liverpool, to
be spoken by INIiss Kennedy, and the farce of The Mock Doctor.'
Mrs. Baker of the company had her ' bespeak ' on Friday,
August 27, when Colley Gibber's comedy The Refusal; or. The
Ladies' Philosophy and the farce Duke and No Duke were per-
formed. ' The last night but one of the acting ' was for the
benefit of Mr. Holtom and Mrs. Copen. This took place on
Friday, September 3, and on the Monday following (Sep-
tember 6), the season terminated.
Having said good-bye to our comedians from the Theatres
Royal in London for one whole year, let us briefly look at the
lot of the poor strolling player.
Performances by itinerant companies took place during
the eighteenth and early nineteenth centuries in and about
well-known local hostelries* like the ' Angel ' in Dale Street,
and in the great room, or ' Buck's Room ' — as it was called —
in the ' Golden Lion ' in Dale Street, where Samuel William
Ryley (whose real name was Romney), of ' Itinerant ' fame
performed, and where in the autumn of 1764 that celebrated
theatrical worthy, Tate Wilkinson, gave two performances.
The first took place on October 5, when £14 was taken, and
the second, he tells us in his curious autobiography, three days
later, when ;^i6 was realised. The smallness of the receipts
greatly displeased him. He had been informed that money,
not grass, grew in the streets of Liverpool. Wilkinson, how-
ever, was a humorist by nature, and a great deal more of the
humorist by art. The great David Garrick gave him his first
engagement. Tate Wilkinson was bom in 1736 and died in
1803. He had been a little too merry in his youth, and old
age brought him great melancholy. In his ' mental wander-
ings,' says Leigh Hunt, ' he would interweave, for instance,
• ' It was the ancient inn-yard, with its open area, its two or three tiers of galleries with
rooms at the back, that was taken as a model for the first English Theatre.' * The I^n-
don Stage,' by H. Barton Baker, Vol. I, p. 2.
32 ANNALS OF THE LIVERPOOL STAGE
all at once the subject of a new engagement at his theatre, the
rats, a veal pie, Garrick, :Mrs. Siddons, Mrs. Tate, and the
doctor.'
Although the poor strolling players cheered the
drooping spirits of many, they were not respected by the pop-
ulace. How could it be otherwise ? Repeated Acts of Par-
liament had dubbed them ' Rogues and Vagabonds,' and as
such they were commonly treated. ' Take the linen from the
line, the strolling players are here,' was once a familiar cry.
Of course one must not confuse the strolling players with
the actors who migrated from the London Theatres to some
provincial town for a season.
It was about the 'fifties of the eighteenth century that
George Farren visited Liverpool. Farren, according to Lee
Lewes,* was not as popularly supposed, a Munster man, but a
native of Dublin, and the son of a wine merchant. He was
intended for his father's business, but was seized with hanker-
ings after the stage. Lewes gives the impression that he made
his debut in Dublin, and then goes on to say : — ' I beg leave to
relate an anecdote, which has never yet been published, re-
lative to his application to Mr. Gibson, the well-known and
respected manager of a company of comedians many years
ago at Liverpool. Mr. Farren's abilities as a performer not
meeting with that encouragement in Dublin which he expected,
he was resolved to take the first opportunity of quitting lerne's
metropolis, and tr>- his fortune in England. Arriving at Liver-
pool, he applied to 'Mr. Gibson, then manager of the London
company of Drury Lane, for a situation of even the lowest sal-
ary ; but this modest ofi'er of his service did not produce the
expected success. ' Our company, friend,' said Gibson,
' being formed and full ere we left London, cannot possibly
admit of any addition. Thou hast told me friend, that thou
hast never tried thy talents on the stage, and it is an unalter-
able maxim with me to reject all superfluities of any kind
I w^ill not entertain more cats than will kill mice ; and therefore,
as by thy own confession thou art not practiced in the business
of an actor, the most prudent course for thee would be to push
thj'self into some other way of life, which may support thee
better. Whatever thy vain hope may flatter thee with,
expect not to keep up long the flashy appearance thou now
♦ • Memoirs of Charles I<ee I,ewes,' Vol. II.
ANNALS OF THE LIVERPOOL STAGE 33
dost make, shouldst thou engage with any travelling company
of comedians. But lest, peradventure, thou shouldst lack
wherewithal to answer for a bed and a supper, I make thee a
present of this half-crown ; thou dost look most pitifully lank
yoimg man, but this may, if properly used by thee, prevent
thy growing thinner for a short space of time.' The exordium
to this puritanical speech made poor Farren look blank ; he
thought proper, however, being in want of half-a-crown, to
pocket the affront — and making his best bow to his monitor
he went back to his lodging.' Gibson, as I have previously
stated, had been a Quaker. Lewes does not mention where
Farren lodged. Probably, it was at a small haberdasher's
shop kept by a IVIiss Wright, who was the daughter of a Liver-
pool brewer, or publican. At any rate she married George
Farren, and to them was born, about 1759, a daughter,
EUzabeth, who in after years became the Countess of Derby.
Ehzabeth's elder sister, Margaret, became, in 1787, the wife of
Thomas Knight, the celebrated comedian, who was after-
wards one of the lessees of the Theatre Royal, Liverpool.
The month of June, 1757, saw the return of the comedians
from the Theatres Royal in London to our playhouse in Drury
Lane.
In ' Williamson's Liverpool Advertiser ' for Friday,
June 10, 1757, the following advertisement appears :
* By Comedians from the Theatres Royal in London,
At the Theatre in Drury Lane, Liverpool.
This present Friday, June 10, will be acted
A comedy, call'd
THE MISER.
To which will be added a Farce call'd
The Mock Doctor
with a dance call'd
The Italian Peasants
by
Mr. Granier and Mrs. Vernon.
To begin exactly at Seven o'clock.
N.B. — The Company will act, every Monday, Wednesday,
and Friday during the summer.'
34 ANNAI.S OF THE LIVERPOOL STAGE
As this advertisement clearly mentions the locality in
which the theatre was situated, the error committed by local
historians in stating that it was not opened until 1759 is all
the more glaring.
With no bills giving the cast of characters of the several
plays performed, it is difficult to discover who appeared on
old Drury's boards during this period. According to the
advertisements in the local newspapers, the company during
the summer of 1757 included Mr. and ]\Irs. Baker,
Mr. Redman, ]\Ir. Granier, Miss Gushing, and Mrs. Vernon.
During June, 1757, the players performed The Suspicious
Husband and The Lying Valet, the tragedy of Merope, and (on
Friday, June 24) The Beggar's Opera, followed by the farce
Miss in Her Teens. The Beggar's Opera was announced as
not having been acted these four years. This further shows
that the Drury Lane playhouse was not a new theatre, while
f urther proof is forthcoming in the advertisement for July 8,
1757, where The Fair Penitent is stated as not having been
' acted these five years.' The programme was also enriched
by the dancing of Mr. Granier and Mrs. Vernon, and by a
new pantomime entertainment (' never performed there '),
•entitled The Jealous Farmer Outwitted ; or, Harlequin Statue.
July 15 saw the production of the Merchant of Venice, and
the i8th of the month the new tragedy of Douglas (' never
-performed there '). On the 22nd, Measure for Measure was
■given for the first time, and three nights later Love for
Love and The Jealous Farmer Outwitted. The last mentioned
performance was in aid of local charities.
On August II was performed the once popular play of The
London Merchant ; or the History of George Barnwell, followed
by Lethe. The season terminated on September 5, 1757.
George Barnwell used to be played on Boxing-night in
front of the Christmas pantomimes, by way, I suppose, of a
great moral lesson to youthfiil patrons. Occasionally Jane
Shore was given with the same object for the moral benefit of
the female portion of the audience. Not so very long ago
Barnwell used to be played every Shrove Tuesday at the Theatre
Royal, Manchester, in front of the pantomime. When played
at Covent Garden, Lillo's old tragedy was as much a panto-
mime on Boxing-nights as the pantomime proper that
followed. Of these ' Merry Moments ' Dibdin recalls that
ANNALS OF THE LR^RPOOL STAGE 35
tragedies, comedies, and operas were doomed by the * gods
and goddesses ' to suifer all the compHcated combinations
of ' Pray, ask that gentleman to sit down,' * Take off your
hat,' and the like. ' But the moment ' says Dibdin, ' the
curtain goes up (on the pantomime), if any unfortunate
gentleman speaks a word they make no reply, but throw
him over directly.'
During J ime, 1758, the following plaj's were perfonned : The
Orphan ; or, The Unhappy Marriage, to which was added the
farce, The Mock Doctor, with dancing between the play and
farce ; Hamlet, and Miss in Her Teens, with dancing be-
tween the play and farce ; Love for Love and The Lying Valet ;
and The Merry Wives of Windsor.
During July, Tancred and Sigismunda, Isabella ; or, The
Fatal Marriage, The Conscious Lovers, As You Like It, a new
tragedy Mariamne (written by Fenton), Henry IV, The
Mistake ; or, The Wrangling Lovers, and on the 24th instant,
' The Beaux' Stratagem for the benefit of the local charities. On
August 4, Beaumont and Fletcher's The Royal Merchant ;
or. The Beggar's Bush was played. Seven nights later
Mariamne and a curiously entitled dance * The Roast Beef
of Old England ; or Antigallican,' were given for the benefit
of Miss Hilliard. For the benefit of Mr. White on August 18,
Congreve's Way of the World, and The Sailor's Return were
performed. The characters in the latter play were undertaken
by Mr. Granier, Miss Hilliard, :Mr. White, Mr. Holtom,
Mr. Baker, and Miss MuUart. Later in the evening the
audience were entertained by Mr. Hippisley's ' Drunken
Man ' given by Mr. Shuter, and the farce Trick upon Trick ;
or, The Vintner in the Suds. For the benefit of Mr. Redman
on August 25, The Mourning Bride, Hippisley's ' Drunken
Man ' and ' The Cries of London ' by Mr. Shuter were given.
The season terminated on September 8, with The Merchant
of Venice, and The Devil to Pay.
THE NEW DRURY LANE THEATRE.
During the time the theatre was closed from September 5,
1758, to June, 1759, the building was reconstructed. Proof of
this is shown by the fact that when the house reopened in June
1759 it was called the New Theatre in Drury Lane. Boxes
36 ANNALS OF THE LR^RPOOIv STAGE
were now added to the auditorium, and they were placed
round the pit. Admission to the boxes cost three shilHngs.
Charles L,ee Lewes says* ' Here it was for the first time boxes
were erected as a just partition for the better sort to withdraw
from the near contact of drunken sailors and their female as-
sociates, who by paying two shilhngs, which many could and
would, afford for the honour of mixing with their employers
and their families.' That the gallerv' had also been altered
is shown by the statement in the Holt and Gregson MSS. to
the effect that ' before this season the gallery extended very
far over the pit.'
The new theatre was described as ' a most beautiful and
regular structure. The scenes entirely new and very elegant.'!
The rent of the house was ^^65 per annum, the current expenses
£10 per night, and the highest receipts on a single occasion
I am unable to state with exactitude what was the opening
attraction in the new theatre as there is only one copy of ' Will-
iamson's Advertiser' in theLiverpool Free Library for the month
of June, 1759, the issue for the 29th instant, when The Strat-
agem, and The Anatomist were played. Holt and Gregson
state that the theatre was opened on June 22, 1760, ' with
the comed}' of The Conscious Lovers and the farce of The
Lying Valet. The house was fitted up with boxes for the
first time this year, price three shillings.' The year 1760 is a
mistake for 1759, as the advertisements in ' Williamson's
Advertiser ' show that the theatre had boxes for the first
time in 1759.
During July the plays performed were : The Orphan of
China (July 2) ; The Mistake (July 4) ; The Rehearsal and
The Lottery (July 13) ; Douglas (July 16) ; Tancred and Sigis-
munda and The Guardian (July 20) ; The Wonder (July 25) ;
The Suspicious Husband, ' The Cries of Ivondon,' and
Katharine and Petruchio for the benefit of the public charities
(July 27).
On August 3, 1759, the performance was under the pat-
ronage of the Society of Bucks, who for Mrs. Ward's benefit,
desired Nicholas Rowe's tragedy of Jane Shore, dancing by
Mr. and Mrs. Granier, The Sailor's Return, and the farce of Lethe.
* ' Memoirs,' Vol. I, p. 43. t ' Liverpool Chronicle,' June 8, 1759.
ANNAIvS OF THE LIV'ERPOOL STAGE 37
Prior to the performance the Society of Bucks were ' requested
to attend their Noble Grand at the Lodge Room, at six o'clock
in proper Form, in order to proceed from thence to the Play.'*
Measure for Measure, The Sailor s Return, and The Jealous
Farmer Outwitted were played for Mrs. Vincent's benefit on
August 10. For the benefit of Mr. Baker on August 17, The
Beggar's Opera and the dance ' The Merry Peasants ' by Mr. and
Mrs. Granier were given. The performance on Friday, Aug-
ust 24, was for the benefit of 'Mr. William Gibson, when Macbeth
was performed. At the end of the third act the dance of
' The Merry Peasants ' was given by Mr. and Mrs. Granier.
At the end of the fourth act Mr. Shuter entertained the audience
with a new humorous piece called ' A Lick at the Town.' At
the end of the play Mr. and Mrs. Granier danced ' The Swiss
Revels,' and between the play and the farce Mr. Shuter
treated the audience to ' A Dish of All Sorts.' This consisted
of the following. ' First : — Observations of the bottle con-
jurer and Miss Canning. Second, A Medley Song. Third, A
Dialogue upon himself, between an Old Man, a North Briton,
and a Gentleman from Connaught. Fourth, The Liverpool
Battle ; or, the History of Mr. Shuter and the Sow. To be sung
by him as a cantata, with proper Accompaniments in Signora
Gruntanilla's taste.' The performance concluded with an
address to the ladies and gentlemen of Liverpool, after which
the farce, entitled The Contrivances was played. I'laces for
the boxes were obtainable from Mr. Gibson at Captain Briggs's
in Drury Lane. On August 31, As You Like It, dances by
Mr. and Mrs. Granier, Pygmalion ; or, the Statue Animated,
and an epilogue formed the attractions for the evening.
The season concluded on September 7, upon which occasion
Mrs. Baker took her benefit, the plays performed being
The Refusal and The Devil to Pay.
The Holt and Gregson MSS. contain the following Hst
of performers who appeared here during 1760 : — Messrs. Gib-
son and Ridout (managers), Holland, Shuter, Collins, Anderson,
White, Gushing, Baker, Aikman, Holtom, Redman ; Mesdames
Bennett, Baker, Dyer, Copen, and Miss Mullart. James W^ard
was the prompter.
• There is in the Liverpool Museum a tils with the arms and insignia of the Society
of Bucks, and an enamel. There is also a silken badge, which is believed to have formerly
belonged to the Society.
38 ANNALS OF THE LIVERPOOL STAGE
For June 6, 1760, A Bold Stroke for a Wife, and the farce,
The Honest Yorkshireman, were submitted. June 9, The Miser ^
with a farce and entertainments of dancing by Signor Maranesi
and Signora Provensalla. June 13, Hamlet and a farce, The
Virgin Unmasked, with dancing by Signor Maranesi and Sig-
nora Provensalla. June 16, the comedy of The Conscious
Lovers, with a farce and dance called ' The Cow Keepers ' by
Signor Grimaldi and Signora Provensalla.
Signor Grimaldi was the father of Joe Grimaldi, the prince
of clowns. Grimaldi fere was originally a pantomime actor
at the fairs in Italy and France. At that time these fairs
supplied the French theatres with some of the finest dancers.
A writer in the 'London Chronicle' (1758) observes that 'Grim-
aldi is a man of great strength and agility ; he indeed treads
the air. If he has any fault, he is rather too comical.'
While in Liverpool the signor resided at Mrs. Davis's in
the Old Churchyard, where he advertised his skill ' to draw
teeth, or stumps, without giving the least uneasiness in the
operation.' He also offered to wait on those who wanted
dental advice, or assistance. There are not many instances
of the union of the two professions of dentist and dancing-
master ; but the signor possessed ability in both. In 1760,
he was appointed dentist to Queen Charlotte, but he soon
resigned his appointment, and commenced to give lessons in
fencing and dancing.
' Boz ' says that the signor ' bore the reputation of being
a very honest man, and a very charitable one, never turning a
deaf ear to the entreaties of the distressed, but always willing,
by ever^' means in his power, to relieve the numerous reduced
and wretched persons who applied to him for assistance.'*
The remainder of the month of June saw As You Like It
and The Lottery (June 20), The Orphan of China (June 23),
Miss in Her Teens and The Committee (June 25), performed.
July II witnessed The Siege of Damascus, High Life Below
Stairs and dances by Signor Maranesi and Signora Provensalla.
On July 13, The Rehearsal and The Lottery were given, followed
three days afterwards by the tragedy of Douglas. July 18
saw The Provoked Husband, and July 25, Venice Preserved and
The Wonder, with dancing and a pantomime. For the benefit
• ' Memoirs of Joseph Grimaldi ' (1838), Vol. I, pp. 4-5.
ANNAI.S OF THE IvIVBRPOOIv STAGE 39
of the public charities on July 27, The Suspicious Husband,
the farce Katharine and Petruchio, and dancing were in the bill.
For the benefit of Mr. Gibson on August i, Tancred and Sigis-
munda, The Lying Valet, dances by Signors Grimaldi and
Maranesi, and Signora Provensalla, and ' The Cries of Ivondon '
by Mr. Shuter were given.
Liverpool at that time was visited by Samuel Derrick,
the Master of the Ceremonies at Bath. Mr. Derrick, in his
letters from Liverpool — or, as he styles it, ' Leverpoole ' — to
his patron the Earl of Cork, has left us an interesting pen-
picture of Liverpool in 1760, and in one of them gives some
noteworthy particulars of the playhouse in Drur}^ Lane. The
letter in which he refers to the theatre is dated August 2, 1760.
' The Liverpool playhouse, which is very- neat,' he writes ' will
hold about £80. Here a company of London performers ex-
hibit during the summer season, and acquire a great deal of
money. I saw several pieces really well done. Holland,
Shuter, and Mrs. Ward, who are at the head of the business,
being very industrious, and careful to please, meet with great
success, not more, however, than they deserve. The dances
are admirably executed by Grimaldi, Maranesi, and Signora
Provensalla. The scenes are prettily painted, the clothes ven,'
rich, and everything carried on with amazing propriety. They
play three times a week ; and behind the boxes there is a table
spread, in the manner of a coffee-house, with tea, coffee, wines,
cakes, fruit, and punch, where a woman attends to accommo-
date the company on very moderate terms, with such refresh-
ment as they may prefer.'
Mr. Redman took a ' bespeak ' on August 22, when Cleone;
or, The Unhappy Wife, was submitted. September 5 was for
the benefit of Mr. Collins, when the bill comprised Isabella ; or,
The Fatal Marriage, and dancing by Signors Grimaldi and
Maranesi, and Signora Provensalla. The season terminated
on September 8, 1760.
During 1760, Mr. Ridout was unlucky enough to offend
one of the magistrates. It appears that the gentleman con-
cerned wished to be shown the theatre, and he applied to Mr.
Ridout. The latter, however, did not know the magistrate,
and he therefore refused him admission. In consequence of
this the players were not permitted to perform here the follow-
ing year.
40 ANNALS OF THE LIVERPOOIv STAGE
There are only a few details to be unearthed concerning
Ridout. He spent most of his life at Covent Garden Theatre,
and was a useful tragic actor of the second or third order. He
was the original Lord Randolph in Douglas in London, on
March 14, 1757. But the play had been previously performed
in Edinburgh. He created the part of Titus in Thomson's
Coriolanns at Covent Garden, on January 13, 1749. His
wife was a pleasing actress. After Lacy Ryan's death, Ridout
was the only man in whom Rich placed any confidence, and
he was always consulted in all matters of importance. Con-
sequently, he was bespattered with plenty of abuse, but that
he did not mind. Tate Wilkinson* used to ' take off ' Ridout,
but on the latter appealing to his good nature he promised not
to imitate him any more. Macklin, however, used to say that
Wilkinson's happiest imitation was that of Ridout — that non-
entity Ridout, as he called him. Early in 1761 ill-health
compelled Ridout to retire to Bath, where he died on May 28,
1761. Rich never recovered the blow, and passed away some
few months later.
After Ridout's death Gibson became sole manager of
the Liverpool Drury Lane Theatre. In 1762 the players
were Messrs. Gibson (manager), Holland, King, Collins, And-
erson, White, Gushing, Fox, Castle, Holtom, Redman ; Mes-
dames Bennett, Ward, Dyer, Smith, Evans [nk Miss MuUart),
and Miss Pope. Signor Maranesi and Miss Baker were the
dancers who performed during, and after the plays.
The Mrs. Bennett referred to above was Elizabeth Bennett.
' This actress,' observes Genest.f ' is sometimes called Mrs.
and sometimes Miss.' She was for many years the partner
of \^' illiam Gibson's joys and sorrows ; in fact, until his decease.
She was a member of the London Drury Lane Theatre Com-
pany as far back as 1736, as on February i of that year she
plaj-ed Marger>' in The King and the Miller of Mansfield. On
I\Iay 6, 1737, she portrayed Ann Bullen in Henry VIII, Quin
being the Wolsey. On May 31, 1741, she, as the Duchess of
York, supported Garrick in Richard III. In 1742 she per-
formed Nerissa at Covent Garden to Macklin's Shylock and
Mrs. Clive's Portia. In that year both Mr. Gibson and Mrs.
Bennett were members of the Covent Garden Company. When
• ' Memoirs.' t ' Some Account of the English Stage,' Vol. Ill, p. 653.
GEORGE MATTOCKS, as Meander in The Padlock.
From a rare mezzotint by Robert Sayer, after J. Wilson, 1773.
By kind permission of Messrs. Maggs Brothers, Booksellers, 109, Strand, VV.C.
ANXALS OF THE LI\"ERPOOIv STAGE 41
Garrick revived King John, on February 20, 1744, Mrs. Ben-
nett was the Queen Elinor.
One of the players at the local Drur>' Lane Theatre in 1762
was Mr. King, who was walking one day with Woodward
through the streets of Liverpool, when a chimney sweep and
his boy came up. The boy stopped and stared at them ; and
although the master called him several times to come along,
he still stood staring, and at length exclaimed ' Why, they be
players ! ' ' Hold your tongue, you dog, ' said the old sweep,
' you don't know what you may come to yourself ! '
In 1763, there came Messrs. Gibson (manager), Holland,
King, Baddeley, White, Gushing, Baker, Wignel, Holtom,
Redman ; Mesdames Bennett, Dyer, Smith, Evans ; and Misses
Pope and Miller. The dancers were Mr. Vincent and Mrs.
Baker. The company was the same in 1764-5.
The Mr. Baddeley mentioned above was Robert Baddeley,
who was bred a cook, and worked in that capacity in the kitchen
of Lord North. He made his first essay on the stage at the
Smock Alley Theatre, Dublin, in October, 1751. His success
in Dublin led to an engagement in London, where he made
his first appearance at Drury Lane Theatre, on September 20,
1763, as Polonius. This would be after he made his debut at
the lyiverpool Drury Lane Theatre. If poor Baddeley's memory
is not kept green by means of the Twelfth Night cake-and-wine
celebrations he will not be forgotten for two other reasons —
he was the husband of that beautiful wanton, Sophia Baddeley,
and he was the original Moses in The School for Scandal.
The performers during 1766 were Messrs. Gibson (man-
ager), Bensley, Parsons, Dunstable, Anderson, Packer, Baker,
Holtom, Johnson (prompter) ; Mesdames Bennett, Baker,
Vincent, Parsons, Evans ; and Misses Flyn and Pope. The
dancers were Mr. Fishar and Mrs. Thompson.
In 1767 visits were paid by Messrs. Gibson (manager),
Bensley, King, Parsons, Mattocks, Packer, Morris, Gushing,
Wignell ; Mesdames Bennett, Mattocks, Didier, Dyer,
Parsons, Evans ; and -Miss Pope. The dancers were Mr.
Fishar and Mrs. King {ne'e Miss Baker). Mr. Wild was again
the prompter.
Until the engagement in 1767 of Mr. and Mrs. Mattocks
no Green Room had been provided at the theatre. * To
* So inadequate was the dressing-room accommodation that these artists had refused
to come down on accoimt of that deficiency.
42 ANNALS OF THE IvIVKRPOOIv STAGE
remedy this defect an adjoining house was now taken and
the parlour appropriated as a Green Room, while the other
rooms were set apart for dressing-rooms for the principal play-
ers. A Mrs. Chevers, being a useful person, had the remainder
of the house during the season, and the whole of it during the
time the performers were away.*
In June, 1767, the plays submitted included : — The Clan-
destine Marriage and The Virgin Unmasked (June 12) ; The
Suspicions Husband and The Contrivances (June 19) ; TheDonhle
Falsehood and The Deuce is in Him (June 26). During July, the
following plays were performed : — The English Merchant (for
the first time), ' as performed last season at the Theatre Royal,
Drury Lane,' and Polly Honeycomb (July 3) ; Love in a Village
(ballad opera), with music by Handel, Arne, etc. (July 10) ;
Romeo and Jidiet and The Contrivances (July 13) ; The Maid
of the Mill (comic opera), ' music composed by the most cele-
brated masters ' (July 17) ; The Busy Body and The Devil to
Pay (for the benefit of the public charities, July 22) ; The Eng-
lish Merchant and Thomas and Sally ; or, The Sailor's Return
(for the benefit of Mr. Packer, July 24) ; The Beggar's Opera
and Katharine and Petruchio (for the benefit of Mrs. Bennett,
July 31). For William Parsons' benefit on August 7, Wych-
erle5''s Plain Dealer was given. Parsons also recited a comic
poem in praise of money. Thomas Davies says that ' Par-
sons was bom a comic actor ; the tones of his voice, and the
muscles of his face proclaim it ; his humour is genuine and
pleasant ; nobody can forbear laughing either with or at him,
whenever he opens his mouth. ' Hamlet, with entertainments of
dancing (August 14) ; The London Merchant ; or, The True and
Antient History of George Barnwell, and Harlequin's Invasion
of Parnassus ' in which will be given the exact representation
of a vSea Engagement, Shipwreck, etc' (August 21) ; The Maid
of the Mill (for the benefit of Miss Pope, August 28) ; Double
Falsehood and Thomas and Sally (for the benefit of Mr. Fishar,
September 2) ; and The Jealous Wife, The Contrivances, and
a general country dance (for the benefit of Mr. Gibson, Sep-
tember 4). This was the last night of the season.
The players during 17G8 were : — Gibson (manager), Bens-
ley, Palmer, Parsons, Packer, Morris, Gushing, Fox, Wignell,
* Holt and Gregson MSS.
ANNAI.S OF THE LIVERPOOL STAGE 43
Holtom, Wild (prompter). Mesdames Bennett, Mattocks,
Didier, Williams, Parsons, Evans ; and Miss Pope. The
dancers were Mr. Fishar, Mrs. Manesiere and Miss Besford.
The plays were : — The Busy Body ' with an epilogue in
the character of the Busy Body to be spoken by Mr. Palmer
(June 13) ; Farquhar's Recruiting Officer (dances by Mr. Fishar
— ^principal dancer of the Theatre Royal, Co vent Garden —
and Mrs. Mattocks (June 17) ; The Countess of Salisbury (new-
tragedy, June 24) ; False Delicacy and The Lyar by Samuel
Foote (July 8) ; The Provoked Husband and The Citizen (July
15) ; The Clandestine Marriage (for the benefit of Mrs. Bennett,
July 29) ; The Double Falsehood (for the benefit of Miss Pope)
(August 5) ; Lionel and Clarissa, dances and The Lyar (August
12) . On August 19 Love in a Village, Mr. Palmer's comic para-
phrase on Shakespeare's ' Seven Ages,' and the farce The
Deuce is in Him were given for the benefit of James Wild,
the prompter, who was afterwards prompter at the Theatre
Royal, Liverpool. On August 26, Mr. Mattocks had for his
benefit The Beggar's Opera and The Honest Yorkshireman.
For the benefit of Mr. Packer, The Way to Keep Him and
The Old Maid were performed on September 2. The season
terminated on September 5, 1768.
According to 'Williamson's Liverpool Advertiser' for Dec-
ember 9, 1768, there was in the street adjoining Drury Lane —
Squire's Garden (now Chorley Street) — the Theatre Coffee
House. The name suggests that it was an establishment
frequented by the players and their associates. In all pro-
bability it was the first theatrical hostelry in Liverpool. It
was either in one of the rooms of the coffee-house, or in the
yard of the establishment that the Venetian Company of Per-
formers (from Sadler's Wells) gave specimens of their quality
from December, 1768, to about the end of January, 1769.
In the journal just mentioned the advertisement says that
' Several new performances never exhibited in this town '
were to be given, together with ' great variety of entertainments
viz. : — Signer Calino will dance on the tight-rope with a pair
of shackles at his feet ; also several droll and diverting tricks
by M. de Monkeyro.' A Miss Wilkinson was also announced
to appear. This lady was apparently a performer of much
versatility, as she not only engaged to sing several favourite
airs and play upon the musical glasses, but also to ' put herself
44 ANNALS OF THE IvIVERPOOL STAGE
into full swing upon the wire, and at the same time play upon
the tabor and pipe.' Other attractions consisted of ' lofty-
tumbling by Master Nevey, Signor Calino, and others ' ; Sig-
ner Bassinini was to perform the Italian table trick ; and
Signor Georgi was to dance a horn-pipe. ' To which will be
added a good pantomime entertainment, called The Novelty.
To conclude with a comic dance.'
Meanwhile Mr. Gibson had been busy concentrating his
energies on the organisation of a new theatre more worthy of
the town.
Accordingly he drew up and presented a petition to the
Corporation of Liverpool, praying them to support him in his
application to Parliament for a theatre to be erected in Liver-
pool, to which Royal Letters Patent would be granted. The
Corporation agreed to grant his request. The sum and sub-
stance of these proceedings is found in the following entr>' in
the Corporation Records : —
December 7, 1768. Matthew Stronge, Mayor.
' It is ordered that the Mayor, Magistrates and Council
of this Corporation agree to Mr. Gibson's petition for erecting
a Playhouse in Liverpoole, upon the same terms, conditions
and agreement as was entered into with the Magistracy of the
City of Norw^ich in the like case, and that Mr. Gibson be desired
to send Mr. Mayor copys of all Acts necessary to be done pre-
vious to obtaining the Act of Parliament, and that the Lord
Chamberlain be pra^-ed to grant the same Licence and no other,
as was granted to Norwich, and all proceedings to be done at
Mr. Gibson's expence. And to acquaint him that the Magis-
tracy^ will not have the present house licensed, as its in a very
dangerous place for company to resort to on account of the
narrow streets and avenues leading thereto.'
In 1769 the performers at the Drury Lane Theatre were
Messrs. Gibson (manager), Bensley, Packer, Palmer, Morris,
Gushing, Fox, Wild, Keen, Holtom ; Mesdames Bennett, Mat-
tocks, Didier, Williams, Parsons and Evans. The dancers
were Mr. Fishar, Signor Maranesi, and Miss Besford.
In 1769 the plays presented included : — Lionel and Clar-
issa and The King and the Miller of Mansfield (June 9) ; the
new tragedy of Cyrus and Miss in Her Teens (June 16) ; Hamlet
and The Padlock (June 23) ; The School for Rakes (new comedy)
' as it was performed with universal applause last winter at
AXNALS OF THE IvIX^ERPOOL STAGE 45
the Theatre Royal, Drury Lane, London,' and the farce The
Intriguing Chambermaid (June 30) ; The Provoked Husband
and The Padlock (July 7) ; Cymbeline and The Virgin Un-
masked (July 14) ; Cymbeline and The Padlock (July 21) ; The
School for Rakes and The Padlock (for the benefit of Mr. Keen
and Mrs. Parsons, July 28) ; The Countess of Salisbury, The
Englishman in Paris, and a minuet by Mr. Fishar and Mrs.
Mattocks, for the benefit of Mr. Gushing (August 4) ; • The
Miser and the Italian pantomime dance ' The Raree Show,'
by Mr. Fishar, Signor Maranesi, Master Blurton and Miss Bes-
ford, with The Padlock (for the benefit of Mr. Morris, August
11) ; Love Makes a Man, the comic dance, ' The Lamplighter,'
and The Padlock (for the benefit of Mr. Parsons, August 18).
September 8, 1769, was the last night of performing for the
season.
Some delay must have arisen in granting Mr. Gibson the
support he solicited from the Corporation of Liverpool in his
appeal to Parliament for a Theatre Royal by Letters Patent, as
there is the following entry in the Corporation Records for
August 29, 1769 : — ' It is ordered that this Council will petition
the Parliament the next session for an Act to enable his Ma-
jesty to grant his Letters Patent to Mr. William Gibson, com-
edian, his executors, administrators and assigns, for the term
of twenty-one years, to build a theatre in Liverpoole on con-
dition that the said Mr. Gibson do pay all expences attending
the obtaining such Act and Letters Patent, and shall also build
the said theatre at his expence on such piece of ground as shall
be agreeable to the Mayor and Magistrates of this town.'
This was succeeded by the following order, dated Sep-
tember 6, 1769 : — ' It is ordered that before Mr. Mayor, the
Magistrates of this town or the Council do petition Parfiament
for building a new theatre in this town and Letters Patent to be
granted to Mr. Gibson according to the order of the last Council.
That the said Mr. Gibson do give in to the Council his proposals,
forms, and prices that he and his Company will during such
Letters Patent perform in the said Theatre at and upon — to
be signed by him and left with Council, and that the Town
Clerk give Mr. Earle or Mr. Gibson a copy of these orders.' ■
It was not, however, until November 9, 1769, that the peti-
tion to Parliament was graced by the Common Seal of the
Corporation, as the following reference shows : — ' It is ordered
46 ANNALS OF THE LIVERPOOL STAGE
that the petition of the Mayor and Council of this Borough
and Corporation now read to this Council to the Honourable
the Commons of Great Britain in Parliament assembled, for
obtaining an Act to enable His Majesty to Grant his Letters
Patent to Mr. William Gibson, his executors, and administra-
tors for the term of 21 years, to build a new Theatre in Liver-
poole, and to perform plays, etc., therein during the Term, be
passed under the Common seal by Mr. Mayor and Bailiffs,
and be presented to ParUament at the now ensuing sessions,
according to the Terms and conditions in a late order of
Council made for such purpose.'
The petition was passed by the House of Commons, but
the House of Lords rejected it. This, however, did not dis-
hearten the to\\Ti, and the Corporation on December 5, 1770,
resolved to make a second effort. This time they sent up no
fewer than three petitions, all of which passed the Corpor-
ation Seal on January 7, 1771. The petitions were transmitted
to ]Mr. Gibson, to be respectively presented according to their
superscriptions. One was addressed to the House of Commons,
one to the House of Lords, and one to the Lord Chamberlain.
The petitions had the desired effect, and the bill passed both
houses. The following is a copy of the Act of Parhament : —
' Anno Regni
Georgh III.
Regis
Magnae Britannise, Francise & Hiberniae,
Undecimo.
At the Parliament begun and holden at Westminster, the
Tenth Day of May, Anno Domini 1768, in the Eighth Year of
the Reign of our Sovereign Lord, George the Third, by the
Grace of God, of Great Britain, France and Ireland, King,
Defender of the Faith, &c.
Cap. XVI.
An Act to enable his Majesty to Hcence a Playhouse in
the Town of Liverpoole, in the County Palatine of Lancaster.
Whereas a hcenced Playhouse in the Town of Liverpoole, in
the County Palatine of Lancaster, would be of Convenience
to the said Town ; May it therefore please Your Majesty,
ANNALS OF THE LIVERPOOL STAGE 47
that it may be enacted ; and be it enacted by the King's
most Excellent Majesty, by and with the Advice and
Consent of the Lords Spiritual and Temporal, and Com-
mons, in this present Parhament assembled, and by the
Authority of the same. That so much of an Act of Parhament,
made in the Tenth Year of His late Majesty's Reign, intituled,
An Act to explain and amend so much of an Act made in the
Twelfth Year of the Reign of Queen Anne, intituled, An Act
for reducing the Laws relating to Rogues, Vagabonds, Sturdy
Beggars, and Vagrants, into One Act of Parliament ; and for
the more effectual punishing such Rogues, Vagabonds, Sturdy
Beggars, and Vagrants, and sending them whither they ought to
he sent, as relates to common Players of Interludes ; whereby
all Persons are discharged to represent any Entertainment of
the Stage whatever, in virtue of Letters Patent from His Ma-
jesty, or by Licence of the Lord Chamberlain of His Majesty's
Household for the Time being, except within the Liberties of
Westminster, or where His Majesty is residing for the Time
being, be, and the same is hereby repealed, with respect to the
said Town of Liverpoole : And that it shall and may be
lawful for His Majesty, His Heirs, and Successors, to grant
Letters Patent for establishing a Theatre or Playhouse within
the said Town of Liverpoole ; which shall be intitled to all
the Privileges, and subjected to aU the Regulations, to w^hich
any Theatre or Playhouse in Great Britain is intitled and
subjected.'*
The site chosen for the erection of the Theatre Royal by
Letters Patent was on the north side of the present Williamson
Square, which takes its name from the worthy citizen, who,
about the middle of the eighteenth century, first laid it out.
So countrified was this district in 1769, that in that year there
were advertised in ' Williamson's Liverpool Advertiser '
* Two fields, or closes, of land to be sold, near to Peter's
Church, known by the name of Williamson's Fields.' In
1725, Frog Lane (now Whitechapel), was entirely unbuilt
upon. At that time there was nothing but marshy ground
thereabouts ; and apparently in that state it so remained until
1764, in which year the Williamson family proposed to sell
* I am informed by the I«ord Chamberlain that this Act of Parliament has not been
repealed.
4 8 ANNAIvS OF THE LIVERPOOL vSTAGE
the land now occupied by the square to the Corporation for
a market. The Corporation offered to take the proposal
into consideration if the Williamsons would ' fill up the
swamp ' in the land adjoining Frog Lane. At any rate the
land upon which the Theatre Royal and the adjoining house
in Murray Street (now Brythen Street) were built, was
Corporation leasehold, and held from August 2, 1770, for a
term of three lives — those of William Gibson, John Brownell,
and Gerard Potter.
The Royal Letters Patent passed the Great Seal on April 30,
1771, ' unto ■ William Gibson, of Liverpool, gentleman, for a
term of twenty-one years from Midsummer next, to establish
a Theatre, and to form, entertain, govern, privilege, and keep
a Company of Comedians for His Majesty's Service in the
Town of Liverpool.'
The cost of erecting the Theatre Royal by Letters
Patent was estimated at about ;^6,ooo, which was raised in
shares of ;^200 each, bearing 5 per cent, interest,* and entitling
the holder to a silver free admittance ticket.t All the money
necessary for the venture was subscribed in less than an hour
after the list had been opened, and on Jtme 3, 1771, the found-
ation stone was laid by the Mayor, Mr. John Sparling, ' who
was attended by a great number of gentlemen. 't
In 177 1 the house in Drury Lane was styled the Theatre
Royal, and the company were known as His Majesty's Com-
edians. This designation was only applied to those players
who performed at the patent theatres. It was a distinct
honour, and, at that time, was much sought after. During
the season His Majesty's Comedians performed on Mondays,
Wednesdays, and Fridays. The players were : — Messrs. Red-
dish, Palmer, Parsons, Packer, Morris, Cushing, Davies, Fox,
Webb, Keen, Holtom, Wild ; Mesdames Bennett, W. Barry,
Hopkins, Lee, Pink, Reddish, Davies, Parsons, and Evans.
Mr. and Mrs. Ferrer?. Signor Maranesi, and Miss Besford were
the dancers.
* In 1797 one share in the theatre was sold for £260. In 1835 the Corporation paid £600
for a share. On May 18, 1881, the value of two shares was assessed at £1,586 13s. 4d.,
at whch sum the Corporation became the purchasers. Three years later one share cost
them £793 6s. 8d.
t Subsequently ivory and copper tickets were substituted for some of the tickets. Oa
all the tokens there was engraved the name of the theatre, with a representation of the
Liver, while on the other side appeared the name of the proprietor. Similar free admission
tickets were afterwards issued at the Amphitheatre, in Great Charlotte Street. Several
of the silver tickets of both theatres are s^U in existence.
t Holt and Gregson MSS.
ANNALS OF THE LIVERPOOL STAGE 49
Most of the players engaged were from the Theatre Royal,
Vrury Lane, London. Tom Davies, who subsequently kept
a bookshop in the metropolis, and was honoured with the friend-
ship of Dr. Johnson, lives in memory as Garrick's first and
worst biographer, and as the author of ' Dramatic Miscellanies.'
His pretty wife has been commemorated in ' The Rosciad.'
Mrs. William Barry was a sister-in-law of the famous vSpranger
Barry. She made her dehd on the Dublin stage as Miss
Osborne, and subsequently married the treasurer of Crow-
Street Theatre.*
It will be noticed that WiUiam Gibson's name does not
figure among the list of performers who appeared at the Dniry
Lane Theatre in 1771. Sad to relate he was h'ing seriously
ill at his residence in Everton. A spirit of insubordination
then broke out among the players. Led by Samuel Reddish,
William Parsons, and Palmer, they revived, not stock dramas
but old plays, in direct opposition to Mr. Gibson's wishes.
For instance. Reddish would have The Gamester for his benefit
and played it in defiance of the manager. ^Moore's play until
it was performed at Drury Lane, London, for Reddish's benefit
on March 16, 1771, had not been seen there for fifteen years.
Reddish rather fancied the part of Beverley, and, as Palmer
had acted vStukely, and Mrs. Reddish had portrayed Charlotte
with him in London, the play was brought out, as I have stated
at the local Drury Lane. After this Reddish was informed
that his services would not be required after the end of the
season.!
Reddish, who died in York Lunatic Asylum, in 1785,
married Mrs. George Canning. Genest, however, hints a
doubt of the marriage by stating that ' Mrs. Canning had at
one time such a friendship for I\Ir. Reddish, that she assumed
his name.'l Bell, in his ' Life of George Canning,' declares
that her marriage ' rests on an authority which properly closes
all discussion on the subject.' Mrs. Canning was the mother
of the famous statesman and orator, the Right Hon. George
Canning, who represented Liverpool in Parliament from 1812
to 1823. Canning Place and Canning Street are named after
him.
• Some account of her will be found in a little work called ' Theatrical Biography ; or
Memoirs of the Principal Performers of the Three Theatres Royal,' published in I/>ndon
in 1772.
t Holt and Gregson MSS.
j ' Some Account of the English Stage,' Vol. V, p. 475.
50 ANNALS OF THE LIVERPOOIv STAGE
In 1771 Liverpool suffered a great loss in the death of Mr.
Gibson. He died at his residence in Everton, on August 21,
and was interred on August 26, in Walton Churchyard, where
stands a monument to his memory. On one side of the tomb,
which is close to John Palmer's grave, a white marble medallion
was inserted bearing an inscription said to have been written
by David Garrick. The lines on the tomb cannot now be
deciphered owing to the rav^ages of the weather. They are,
however, preserved in the Holt and Gregson MSS., and I am
therefore able to give a copy : — ' To the memory of William
Gibson, late patentee of the Theatre Royal in Liverpool, who
died August 21, 1771, aged 58. If Judgment and Industry
in his Profession, if a steady uprightness of Heart, if an
Invariable Attachment to Truth, Honour, and Friendship,
•desire the praises of Mankind, no one ever had a more just
title to them than he whose remains are here interr'd.
A Wit's a feather, and a chief's a rod
An honest Man the Noblest Work of God.'
David Erskine Baker, in his ' Biographia Dramatica,' says
' That the worth of the deceased might have entitled him to
the lasting honour which an epitaph by Doctor Johnson would
certainly have conferred.' Gibson is feelingly referred to in
the prologue written by George Colman, the elder, and spoken
at the opening of the Royal. ' Gibson's loss,' says J. Winston,*
' was much lamented, and he was an example of benev-
olence but rarely met, as he left a donation of a consider-
able amomit to the indigent of the town.' This latter
statement is incorrect, as also are the statements of
Genest, and other stage historians, that he left his money
to the Covent Garden Fund. His will, dated June 12,
1771, now in the Chester Probate Registry', shows that he
bequeathed all his ' bills, bonds, public funds, scenes, cloaths
(sic), and the patent for playing in Liverpool, to his dear and
best beloved friend, Mrs. Elizabeth Bennett, formerly of Drury
Lane,' whom he appointed sole executrix. The testator's
will, which is apparently in his own handwriting, describes
him as ' of Covent Garden, London, but now belonging to the
• ' The Theatric Tourist ' (1805), p. 50.
ANNALS OF THE LIXrERPOOL STAGE 51
Theatre Royal, of Liverpool.' According to Baker's ' Bio-
graphia Dramatica ' Gibson's fortune amounted to ' upwards
of eight thousand pounds.'
On August 23, 1771, the company at the Drury Lane
Theatre appeared in Othello and Like Master Like Man. In
the cast were I\ressrs. Palmer, Parsons, Reddish, Davies,
Packer, Gushing, Webb, Keen, ^Morris, Mrs. Hopkins, and Mrs.
Lee, the last of whom plaj'ed Desdemona. The performance
was for the benefit of Mrs. Lee, and a prologue was spoken by
her daughter, a child of five. The season terminated early
in September.
During the autumn of 1771 the celebrated actor-author
Charles Macklin, was seen here in the characters of Shylock, Sir
Archy, Lovegold, etc. Kirkman* says that he played ' with
his accustomed abihty at Leeds and Liverpool to ver>' crowded
houses,' and afterwards set sail for Dublin, where he arrived
on November 11, 1771.
The Drury Lane Theatre remained standing many years
after the Theatre Royal by Letters Patent in Williamson
Square had been built. Performances were occasionally given
at the former house, as it is recorded that on October 13, 1774,
the masque of Alexander' s Feast was played there. Another
performance took place on October 23, 1775, when The Revenge
and Miss in Her Teens were given in aid of a distressed family.
A footnote to the advertisement states ' that great care has
been taken to have the house thoroughly aired.' On Nov-
ember 23, 1775, representations of Henry IV and the farce of
The Toy Shop were given in aid of the Infirmary' (opened March
15, 1749), which then stood on the site now occupied by St.
George's Hall. On another occasion, after 1776, a benefit
performance was accorded a Mr. Leverton, a mathematical
and optical instrument maker, of Pool Lane (now South Castle
Street), but the performers were principally amateurs.
Brooke says that the Drury- Lane Theatre ' was purchased
in 1788, along with other property from Mrs. Chapman, and
pulled dowTi, and part of its site forms a portion of the site of
Bnmswick Street.'! As a matter of fact only part of the
theatre was demolished, and the remaining portion converted
• ' Memoirs of the Life of Charles Macklin ' (i799), Vol. II, p. 46.
t Brooke's ' Liverpool,' p. 85.
52 ANNALS OF THE LIVERPOOL STAGE
into a warehouse,* which was used by the Corporation as an
engine-house.t According to the eighth edition of ' The
Stranger in Liverpool ' (1825), what remained of the old
theatre was still used as a warehouse. The next edition of ' The
Stranger in Liverpool ' (1829), records ' that the remains
were only lately taken down.' Therefore, we may take it
that somewhere between 1825 and 1829 the theatre ceased to
exist.
THE THEATRE ROYAL.
One hundred and thirty-six years ago, when the Theatre
Royal in Williamson Square was first erected, Liverpool pre-
sented a vastly different aspect from the Liverpool of 1908.
Pleasant landscapes, fruitful gardens, and picturesque wind-
mills dotted here and there on hill sides, could be found within
a mile of the Town Hall. But the town itself was ill-paved,
ill-drained, and ill-lighted.
As late as 1775 there was only one letter carrier for all
Liverpool, and the mails had to be brought into the town on
horse-back. Goods were conveyed on pack-horses, and in
waggons in which many of the inhabitants, and not merely
those in the humblest rank of society, used to ride when taking
a journey. There were few stage-coaches. The higher and
middle classes who did not keep carriages, invariably travelled
on horse-back, or in post-chaises. The roads, such as they
were, presented serious risks to travellers, being infested by
highwa>Tnen of the Jack Sheppard and Dick Turpin type.
Oil lamps, tallow candles, and rushlights were the sole domestic
illuminants. Matches had not come into use, and in their
stead the flint and steel must often have tried the temper of
the most patient.
The bankers, merchants, and others of the upper and
middle classes were dressed in satin small clothes, silk
• The Holt and Gregson MSS., record : ' Part of the old house Is cut away in making
the opening from Castle Street to George's Dock, now Bnmswick Street, What remains
standing is converted into a warehouse.'
t On January 23, 1798, there was sold at the ' Golden Lion,' in Dale Street, simdry free-
hold properties formerly belonging to Charles William, first Earl of Sefton. One of the
properties was ' part of the Old Playhouse, now used as an Engine House, in the occupation
of the Corporation, of the yearly rent of £3." (Vide ' Pxoperty Sales in Wverpool and
District,' 1798 — 1906).
ANNALS OF THE LI\'ERPOOIv STAGE 53
stockings, and cocked hats and ruffles. Their coats, waist-
coats (the latter very elaborately worked), and breeches, were
oftentimes all of one colour, the prevailing hues being
of a light or snuff colour. WHiite stocks at the throat
were invariably worn ; and the young men, and not a
few of the middle-aged, wore their hair dressed with large
curls on either side of the face with queues behind. Brown
bob wigs, cauliflower wigs, and bush wigs seem to have been
principally worn by middle-aged and elderly persons.
Whether they wore their own hair or not, hair-powder, in the
higher ranks was de rigeiir, whilst canes and walking-sticks
with large gold or silver heads were in general use.
The ladies powdered their hair, which, in those days, was
worn very high ; and Vvith their large hooped dresses wore
ver}^ high-heeled shoes. INIany of them carried large green
fans to mitigate the heat of old Sol's rays. Such were some
of the conditions of life in Liverpool when the Theatre Royal
was built.
After Mr. Gibson's death, Mrs. Bennett, to whom the
former had bequeathed the Royal Letters Patent for playing
in Liverpool, granted the use of the theatre for fourteen years
to Messrs. Joseph Younger and George Mattocks at a yearly
rent of /140. The grant, which I have seen, bears date March
18, 1772, provided, among other covenants, 'that the said
Joseph Younger and George Mattocks, their heirs, executors,
administrators, or assigns shall not, nor shall either or any of
them during the said term of fourteen years employ Samuel
Reddish of the Theatre Roj'al, Drury Lane, London, Comed-
ian, or permit, or suffer him to be employed in acting, repre-
senting, or in any quality whatever in and about the theatre
or playhouse to be opened or made use of by virtue of the said
Letters Patent.'* It was also agreed that ]\Irs. Bennett, or
her nominee, was to be admitted into the theatre free of charge
to witness the perfonnances.
Joseph Younger, one of the lessees, was a ver>' capable
actor, despite a persistent lisp. He had been prompter at
Covent Garden Theatre during Rich's management. Rich,
who never could remember names, used to call him ' Young-
more.' The other lessee, George Mattocks, made his first
• This was occasioned by Reddish's conduct the previous year at the Drury Lane
Theatre, Wverpool. ;
54 ANNALS OF THE IvIVERPOOIv STAGE
appearance in Liverpool at the Drur^- Lane Theatre in 1767.
Both he and his wife were always favourites with the local
playgoing public.
The new theatre was a large and handsome building, ele-
gantly finished both internally and externally, and having
admirable acoustic properties. The front was of brick, in a
line with the houses on either side, and it was surmounted by
an artistic pediment in which was depicted a graceful and
spirited carving of the Royal Arms. In the middle of the
facade was a large door led up to b^' stone steps. This was
the principal entrance. Facing this the lobby leading to the
boxes was situated, and on one side there was a passage which
led to the pit, and on the other to the gallery. The boxes
were 3s. 6d., the pit 2s. 6d., and the gallery is. Sir William
Chambers was the architect. Candles and lamps were the
only illuminants, gas not being introduced until early in
the nineteenth century.
' There was a peculiarity about the gallery,' says
Brooke,* ' which is worth notice ; it was by no means
as distant from the stage, or as much elevated from
the ground as the present galler\',t and was one of the
best situations in the house for hearing and seeing the
performances ; the height of the front of the gallery was
much the same as that of the present upper boxes ; it
was frequented by persons of a higher grade of society
than such as are now J seen in the pit of a Liverpool
theatre, and they were accustomed to sit on the left side
of the gallery when looking towards the stage, whilst the lower
classes, by a kind of tacit arrangement, seldom interfered with
them, but took their seats on the right of it, and in the wings,
which extended over a part of the upper side boxes.'
The back wall of the theatre at that time abutted on one
of the walks of an extensive rope works, the site of which is
now covered by St. John's Market. In after years it became
a matter for great regret that the rope-walk at the back of the
theatre had not been taken in when the theatre was built so
that the stage of the Royal could have been made much deeper
than it was. The opportunity, however, was lost, for soon
afterwards the rope-walk became a narrow street (Charles
Street), and so it remains to the present day.
* ' l4verpool During the I^ast Quarter of the Eighteenth_Century,' pp. 275-6.
t The theatre opened in 1803.
ti853.
ANNALS OF THE I.IVKRPOOIv STAGE 55
On Friday evening, June 5, 1772, the Roj-al was opened
with great eclat. All the elite of the tovra were present on
this very auspicious occasion, and the initial performance was
a great success. The opening prologue was written by George
Colman, the elder, and spoken by Mr. Younger. It was as
follows : —
* Wherever Commerce spreads her swelling sail
Letters and arts attend the prosperous gale.
When Ceesar first these regions did explore,
And northward his triumphant eagle bore,
Rude were Britannia's sons, a hardy race
Their faith idolatry, their life the chase.
But soon as traffic fix'd her social reign,
Join'd pole to pole, and nations to the main,
Each art and science follow'd in her train.
Augusta then her pomp at large display 'd,
The seat of majesty, the mart of trade.
The British Muse unveil'd her awful mien,
And Shakespeare, Fletcher, Jonson grac'd the scene.
lyong too has Merse}' roll'd her golden tide.
And seen proud vessels in her harbour ride ;
Oft on her banks the Muse's sons would roam,
And wish'd to settle there a certain home ;
Condemn'd alas ! to hawk unlicens'd bays.
Contraband mummeries, and unlicens'd plays.
Your fostering care at length rehev'd their woes,
Under your auspices this Staple rose.
Hence made free merchants of the letter'd world,
Boldly advent'ring forth with sails unfurl'd,
To Greece and Rome, Spain, Italy, and France,
We trade for play and opera, song and dance.
Peace to his shade, who first pursu'd the plan I
You lov'd the actor, for you lov'd the man.*
True to himself, to all mankind a friend,
By honest means he gain'd an honest end.
You, like patrons, VN^ho his merits knew.
Prompt to applaud, and to reward them too,
Crown'd his last moments with his wish obtain'd
A Ro^^al Charter by your bounty gain'd.'f
* William Gibson. t Troxighton's ' Liverpool,' pp. 148-9.
56 ANNAI.S OF THE I.IVERPOOI. STAGE
Then followed the tragedy of Mahomet and the farce The
Deuce is in Him. Although the names of the performers were
first published in the local newspapers about this time,* I
have, however, never been able to obtain a copy of the bill
for the opening performance, therefore, I am unable to say
who took part in it. Genest says that in the tragedy
Wroughton played Zaphna and Mrs. Mattocks the part
of Palmira, while in the after piece Quick performed
Prattle.t •• .}
In addition to Colman's another prologue was written
for the occasion by Dr. Aikin, but it arrived too late to be of
service. It merits, however, a place in these Annals : —
' Where I^Iersey's stream long winding o'er the plain,
Pours his full tribute to the circling main,
A band of fishers chose their humble seat ;
Content'd labour bless'd their fair retreat :
Inur'd to hardship, patient, bold, and rude.
They braved the billows for precarious food :
Their straggling huts were rang'd along the shore,
Their nets and little boats their only store.
At length fair Commerce found the chosen place.
And smii'd approving on th' industrious race
Lo ! and she waves her hand, what wonders rise,
Stupendous buildings strike th' astonished eyes :
The hollow' d rock receives the briny tide.
And the huge ships secure from Neptune ride ;
With busy toil the crowd' d streets resound.
And wealth, and arts, and plenty spread around.
The Muses next a willing visit paid ;
They came to Pleasure's and to Virtue's aid ;
A graceful ease and polish to impart.
Refine the taste, and humanise the heart.
Their fair attempts obtain'd a kind applause.
And brightest forms appeared to grace their cause,
In whom each charming lesson shone confest
The polish'd manners, and the feeling breast.
• Holt and Gregson MSS.
t Vol. V, p. 338.
ANNALS OF THE LI\rERPOOL STAGE 57
This night the Muse's messenger I come
To bid 3^ou welcome to their new-rais'd dome :
Well pleas' d the stately building they survey,
And here their annual summer visit pay ;
WTiere art, where knowledge reigns, they love the soil
And the free spirit of commercial toil ;
\\^ere the quick sense of graceful, just, and fit
Awakes the chastened smile of decent wit ;
WTiere soft urbanit}' the breast inspires
And soothing pit>' lights her social fires.
O kindly cherish still their generous arts
And show their noblest praises in your hearts.'*
At first it was the nile to keep the Royal open only during
the summer months, commencing when the two London
patent theatres, Drur\- Lane and Covent Garden, closed, and
concluding when the two metropoHtan theatres were about
to reopen for the winter season.
The company consisted of London performers, all of
whom had to pledge themselves under heavy penalties to re-
main for the whole of the Liveipool dramatic season. This
arrangement at first was a source of considerable monetary-
gain to the management of the Royal, but it aftenvards proved
both troublesome and expensive, inasmuch as the London
theatres became uncertain in their periods of opening and
closing. Consequently, the players had to leave Liverpool
hurriedly, or, on the other hand, they were unable to arrive
here in time to open the season.
The performers who appeared during the first season
were: — ^Messrs. Younger, Mattocks, Palmer, Wrough ton, Quick,
Packer, Davies, Baker, Thomson, Keen, Holtom, Wild,
(prompter) ; Mesdames ^Mattocks, Baker, Hopkins, Davies,
Kniveton, Claggot, Evans, and Miss Miller. The dancers
were Messrs. Vincent, Bolton, Vidini, and Miss Besford.f
The theatre had not long been opened when two accidents
happened, the first caused considerable alarm, and, unfortu-
nately, resulted in loss of life, but the second was not of a very
serious nature.
* Troughton's ' Historv of Liverpool,' p. 391.
t Holt and Gregson MSS.
58 ANNAI.S OF THE IvIVERPOOL STAGE
One night during the performance a house in Williamson
Square took fire, and a false alarm of ' fire ' was raised in the
theatre. The actors did their best to reassure the audience
that there was no danger, and the musicians were commanded
to play in order to quieten the fears of those who had rushed
for the doors. Fortunately many remained seated, but, sad
to relate, one man anxious to get down the gallery stairs was
killed and several injured. Holt and Gregson * say that
the accident took place on August 24, 1772. In the
' Annals ' in ' Gore's Directory,' August 29, 1772, is the date
given. Although there are no newspapers to guide one as
to which date is correct, I am inclined to believe that the
accident took place during June or July. This inference
is based on a date (July 25, 1772), appended to the verses
written by Dr. Houlston on the second accident which took
place during the performance of the burletta of Midas.
During the progress of Midas representatives of the gods
and goddesses had to ascend in a chariot, singing the while the
chorus of ' Jove in his Chair.' Having reached the celestial
regions the platform on which they stood parted in the middle,
and several of the performers tumbled down upon the stage.
The accident was occasioned by the carpenter having neglected
to fasten the bolt which secured the platform. The following
is a copy of the verses penned by Dr. Houlston : —
' A terrible tale we have to rehearse.
And to lessen its terrors we'll tell it in verse,
The jingle is meant the sad tale to adorn.
But not to convert your just pity to scorn ;
Yet some droll misfortune is apt to bewitch
As we laugh at our friends who fall in a ditch.
But shunned be the man and detested the heart
Which never at other's misfortune can smart,
For generous pity of virtue's a part.
We protest then once more that we mean no offence,
Altho' we may smile at another's expence.
You all of 5'ou knovv how in the polish'd age
Wrhat noble improvements we made to our stage ;
Holt and Gregson MSS.
ANNATE OF THE LIVERPOOIv STAGE 59
How better'd in elegance bulk and design,
To show all our neighbours how fast we refine
To grace our new playhouse the manager chooses
To introduce to us Apollo, the Muses,
Jove, Juno, Cupid, old Midas and Pan,
To please us and fleece us as much as they can,
Behold these celestial troops in array
How glorious the view, but alack ; what dismay !
As soon as the Deities got out of sight
An accident happened threw all in a fright,
The prompters, the fiddlers, the pit, and the boxes,
The gallery gentry, the sailors and doxies.
The platform, heaven, Oh ! wondrous to tell,
To the burden unequal most suddenly fell ;
The gods for awhile had suspended their care,
And no wonder they heavily dropped through the air :
Jove's orders was out when the storm soon arose.
And both gods and goddesses fell on their nose,
Juno being in the air for a time in full view.
But with the celestials no need ; tys new.
Some long-winded poets here hardly would fail
To wear out your patience, and fighten the tale
On such a disastrous subject to dwell.
And to pun on the fall of their godships to hell —
But I, more indulgent prefer to recall
The various disasters attending the fall !
How the fates so presumptuous old Jove dar'd dethrone,
Whilst fame spread abroad he had broken his backbone.
Apollo it happened had taken his leave ;
But that arch rascal, Cupid the danger would brave
And by his wings aided in safet}^ departed
To render our heaux and our belles tender-hearted :
How quickly the demi-gods, [Muses and Graces
Totter'd after great Jove, and fell on their faces.
But who can describe the confusion and noise
Which spread through the house at the fall of the skies,
And what's more agonising, not one of our sparks
Car'd on that occasion, for catching of larks,
LTKH'tw;" V— ■ -,"rF-e±.
STTT '» i
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■^rr^er -aai t]c ■311T' 3e -wac -mr aix «-,.f .he ssss. 3; »a« jnuii'iTnr rf ^se
ANNALS OF THE LIVERPOOIv STAGE 6i
By their Majesties Servants.
Theatre Royal, Liverpool.
This present Friday, Jl*ne 4th, 1773
Will be Performed
THE BEGGAR'S OPERA.
Macheath
by Mr. Mattocks
Peachum
by Mr. Quick
Lockit
by Mr. Thompson
Filch
by Mr. Holtom
Mat 0' the :\Iint
by Mr. Baker
Lucy
by Mrs. Baker
Mrs. Peachum
by Mrs. Barrington
Jenny Diver
by Miss Day
Polly
by Mrs. Mattocks
To conclude with a Country Dance by the Characters of
the Opera.
In Act 3d.
A Hornpipe by Miss Twist.
To which will be added a Farce called
The Contrivances.
Rovewell by Mr. Mattocks
Argus by Mr. Quick
Hearty by Mr. Thompson
Robin by Mr. Baker
Betty by ]Miss Day
Arethusa by Mrs. Baker
The days of playing will be Mondays, Wednesdays, Fri-
days, and Saturdays.
Boxes jS. 6d. Pit 2s. 6d. Gallery is.
The doors to be opened at half-past five. To begin
exactly at Seven.
Tickets and places for the Boxes to be taken at the Stage
Door of the Theatre.
No person can be admitted behind the scenes.
Vivant Rex et Regina.
Mrs. George Mattocks, wife of the co-lessee of the Royal,
belonged to Covent Garden Theatre. Mrs. Mattocks's father
and mother were both on the stage, the former being man-
ager of the Goodman's Fields Theatre. Our Mrs. Mattocks
62 ANNALS OF THE LIVERPOOIv STAGE
{nie Isabella Hallam) was a very good low comedy actress,
and a capable performer in other lines. Ryan in his ' Table
Talk ' mentions that ' Mrs. Mattocks was as much celebrated
for the taste and elegance of her dress as for her histrionic
talents. The various dresses of Mrs. ^Mattocks after they had
passed the ordeal of the female critics in the theatre, and been
there displaj^ed to the admiration of the town, were frequently
sent for by the principal ladies of Iviverpool, and other
towns in the country, who adopted and spread the
fashion.'
Roach* says that * though for a while they (Mr. and Mrs.
Mattocks) lived happy, frailties on both sides occasioned a
separation.' George Mattocks died in 1804. Mrs. Mattocks
survived her husband many years. She bestowed a good
marriage portion on her daughter, and on retiring from the
stage had £6,000 in the stocks left for herself. As she lived
in Kensington, London, and it was inconvenient for her to
receive her own dividends, she gave her son-in-law, a barrister
named Hewson, a power of attorney. This man proved
wholly unfaithful to the trust for he died greatly in debt.
Upon going to the bank to receive her expected dividends Mrs.
Mattocks found to her great consternation that her son-in-law
had sold the securities, and spent the money. She had no
suspicion of the fraud until too late, as the dividends had been
paid to her with strict regularity. She died June 25, 1826.
In 'Williamson's Advertiser ' for July 30, 1773, I\Ir. Barry,
the treasurer of the theatre, advertised for a quantity of sper-
maceti candles. Amongst the poorer brethren of the sons of
Thespis candle-ends were not ' unconsidered trifles ' but were
in fact a source of emolument. In Cape Everard's ' Memoirs't
there occurs this passage : ' I remember,' says Mr. King, 'that
when I had been a short time on the stage, I performed one
night King Richard, gave two comic songs, played in an inter-
lude, danced a horn-pipe, spoke a prologue, afterwards harlequin
in a sharing company ; and after all this fatigue, my share
came to Ihree-pence and two pieces of candle ! '
Candles are mentioned in some of the Theatre Royal
accotmts as forming an additional part of the receipts.
The theatre staff included one or more attendants to go round
• ' Memoirs of the Green Room ' (1796), p. 58. t P. 62.
ANNALS OF THE LI\^RPOOI. STAGE 63
and snuff the candles at intervals. These worthies were in-
variably tall and thin, and were known by the name of 'Tallow
Jack.' I may mention that I have spoken with those who
remembered attendants on the stages of the local Royal and
Amphitheatre being greeted with cries of ' Tallow Jack ! '
This epithet was bandied about even after gas had been intro-
duced.
WTien Mrs. George Farren {nee Wright, of Liverpool)
was left a widow with four children, and in poor circumstances,
she apphed for an engagement to Whiteley of Chester, but he
having no vacancy recommended her to Younger of the Royal.
A favourable report of Kitty Farren (the elder daughter)
induced that gentleman to engage the whole family. In 1774
Elizabeth (Betsy) Farren made her debut at the Royal at the
age of 15 as Rosetta in Love in a Village. ' But such was the
poverty of her wardrobe,' says a writer in ' Walker's Hibernian
Magazine,' for July, 1794, ' that the ladies of the company,
it is remembered, were obhged to subscribe each a proportion of
apparel before she could be properly equipped. So much
may great merit and superior talents be depressed by poverty-.
She next performed Lady Townly, and pleased Mr. Younger
so well that he procured credit with his tradesmen for what
cloatlis any of the family stood in need of.'
After remaining at the Royal some three years gaining
experience, and winning approbation for her performances,
especially for her Lady Townly, she was introduced by Mr.
Younger to George Colman, and made her debut in London at
the Haymarket, on June 9, 1777, in the part of :\Iiss Hardcastle.
There was recently sold at Sotheby's an autograph letter
from Garrick to Colman, in which the former says : ' I like
your piece and that other most promising piece, Miss Farren —
'tis a shame that she is not fixed in London. I will venture
my life that I could teach her a capital part in comedy, aye
and tragedy too, that should drive half our actresses mad.
She is much too fine stuff to be worn and soiled at Manchester
and Liverpool.' After her London debut she was engaged for
Co vent Garden, which theatre in a little while she left to be-
come a member of Old Drury, where she performed a consider-
able time as a first tragic actress and became successor to Mrs.
Abington in comedy.
64 ANNALS OF THE LI\'ERPOOIv STAGE
Miss Farren moved in the best society ; and long before
she withdrew from the stage it was said of her that when ' One
certain event should happen, a Countess's coronet would fall
on her brow.' This contingency was the death of the Countess
of Derby. It was through an introduction of the Duchess
of Leinster that Miss Farren first became acquainted with
Edward, the twelfth Earl of Derby, who was himself a clever
amateur actor. A platonic affection between the two soon
ripened into something more lasting. In her ' Diary of a
Lady of Quality,' Miss Wynne recalls ' the circumstance of
seeing LordDerb}^ leaving his private box to creep to her behind
the screen, and, of course, we all looked with impatience for
the discovery, hoping the screen would fall a little too soon,
and show to the audience Lord Derby as well as Lady Teazle.'
On April 8, 1797, Miss Farren, in the part of Lady Teazle,
took her farewell leave of the stage, and on the ist of May
following she was married to the Earl of Derby. Three
children were bom of this union, but only one survived, Mary,
bom in^iSoi, who, in 1821, married the Earl of Wilton, eight
years before her mother's death, which took place at Knowsley
on April 23, 1829. The Earl of Derby survived her some five
years.
On May i, 1774, permission was granted by the Corpor-
ation to change the names of the leaseholders of the theatre
on payment of one hundred pounds fine, ' or to change the
lives of John Brownell and Gerard Potter only, paying two
gtiineas fine, at the election of the said proprietors to be made
and signed to Mr. Maj^or in a month.'*
The proprietors of the theatre petitioned against this,
and claimed an abatement of the fine laid on them. In their
petition they set forth ' that they had laid out near six thous-
and pounds in building the said house, and that they had lost
in a Hfef therein within a year after the finishing the same build-
ing, and thereby greatly improving the Corporation Estate.'
To this the Corporation made answer that they ^ould do
' what hath been done in many similar instances to encourage
the improvement of said Corporation Estate, to mitigate the
said fine of one hundred pounds to twenty guineas, and that
they have the said lease granted accordingly, and with this
abatement of the said price. '{
* Corporation Records.] J*^ t William Gibson. } Corporation Records.
EI.IZABETH FARREN, Coxjntess of Derby.
From a painting by Sir Thomas Lawrence.
A^TKALS OF THE LIVERPOOL STAGE 65
On April 25, 1775, the oratorio of The Messiah was per-
formed, and on the following evening the oratorio of Samson.
On the twenty-seventh a sacred oratorio, ' never performed
in this country,' called Jephtha was given, and on the following
night Drj^den's Ode, set to music by Dr. Wainv/right, was sub-
mitted. The performers, who were selected from different
parts of the countr>% included Messrs. Brown, Saville,
and Spence ; Mesdames Barthelomon, Weichsell, and
Miss Radcliffe.
According to J. Winston, author of ' The Theatric Tour-
ist,' Garrick performed in Liverpool in Ben Jonson's comedy,
Every Man in His Htimotir. No date is mentioned. It
must, however, have been prior to June 10, 1776, when Garrick
took his farewell of the stage. Winston says that ' the piece
was highly patronised,' not so on its revival a few years after-
wards. 'They (the Liverpool folk) said it was unworthy of
representation.'*
On June 26, 1775, Charles ^Macklin enacted Shylock, and
on June 30, Richard III. Mrs. Barrington appeared as the
Duchess of York. On July 7, ^lacklin acted Macbeth for
his benefit.
On August 25, The Rivals was produced at the Royal,
Larry Clinch being the Captain Absolute, and Moody the Sir
Lucius O'Trigger. This comedy of Sheridan's was first pro-
duced in the January of that year, the original Sir Lucius
being an actor named Lee, who died in 1781. Lee, however,
had not made genteel Irish comedy parts a speciality, and in
consequence the piece was not a success until Clinch took over
the part. Clinch so well satisfied the audience that Sheridan
requested him not long after to create the Irish part of Lieu-
tenant O'Connor in St. Patrick's Day.
Moody was also a celebrated actor of Hibernian parts.
His real name was Cochrane, and he was born in Cork, where
he was apprenticed to his father, who was a hairdresser.
Moody was the original Captain O'Cutter in Colman's Jealous
Wife ; but his greatest stage triumph was as Major O'P'laherty
in The West Indian.
During his engagement at the Royal in the summer of
1775 Moody received a letter from David Garrick in which
Roscius asked, ' Have you ever heard of a Mrs. Siddons who
* P. 53.
66 ANNAIvS OF THE IvIVERPOOI. STAGE
is strolling about somewhere near you ? ' The Mrs. Siddons
referred to was the eldest daughter of Mr. and Mrs. Roger
Kemble, two itinerant players, and was bom in Brecon, on
June 13, 1755. Sarah Kemble's first audience hissed her
as too young to be listened to ; but she won their approval
by the clever manner in which she recited a fable. A similar
occurrence (to be noted later on) happened to her in after
years at the Liverpool Royal.
Sarah Kemble was in her nineteenth year when, on Nov-
ember 6, 1773, she became the wife of Mr. Siddons, a poor
player, and an ex-apprentice from Birmingham. Parental
displeasure at the union caused Mr. and Mrs. Siddons to
depart from I\Ir. Roger Kemble's com; any and join that of
I\Iessrs. Chamberlain and Crump. These two managers were
commonly kno^vn by the names of ' Fox and Bruin.' S. W.
Ryley, in his 'Itinerant,' describes Chamberlain as being sly
and cunning, and Crump as having a blunt, morose and brutish
character. At Cheltenham Mrs. Siddons's playing excited
tmiversal admiration ; and Lord Ailesbury mentioned her to
Garrick. Lord Dungarvon's daughter, the Honourable Miss
Boyle, looked after her wardrobe, lent her many of her own
dresses, and helped to make others with her own hands. On
one occasion I\Irs. Siddons had to appear on the stage in a male
disguise ; but the necessary habiliments not being forthcoming
she was compelled to accept the loan of a coat from a gentle-
man who sat in one of the boxes, while he stood at the wings,
with a petticoat thrown over his shoulders, waiting to receive
his property.
On December 29, 1775, she made at Drury Lane Theatre
her first appearance on the metropolitan boards. The Mer-
chant of Venice was billed for that evening, the part of Portia
' by a young lady,' and Shylock by Mr. King. After playing
a variety of parts with not very great success, Mrs. Siddons
terminated her London engagement in the June of 1776.
Although Lee Lewes states that Mrs. Siddons was sojour-
ning in Liverpool with her two children about November,
1775, 1 have never been able to ascertain when she first played
here. At any rate she performed a number of parts during
the winter season of 1776.
ANNAI.S OF THE LIVERPOOI. STAGE 67
Boaden, in his ' Memoirs of Mrs. Inchbald,'* tells us that
in the early part of October, 1776, Mrs. Inchbald first met
Mrs. Siddons in Liverpool, thus beginning a friendship that
extended through all the changes of their fortunes for five-and-
forty years. On the tw^enty-seventh of the month West
Digges (who was the son of EHzabeth, sister to the first Earl
of Delaware, and Thomas Digges of Chilham Castle, Kent)
arrived to act Cato and a round of other prominent characters.
Mr. and Mrs. Siddons and Mr. and Mrs. Inchbald termin-
ated their engagement with Messrs. Younger and Mattocks
in December, and, on the seventeenth of the month,
they took, at eight o'clock in the morning, a post-chaise for
Manchester. On the way the vehicle was upset, but luckily
none of the occupants were hurt. They ultimately arrived
at their destination at six o'clock in the evening.
In 1776, William Thomas LevMis, who in 1803 became one
of the lessees of the theatre, made his first appearance on these
boards. During his engagement he played Oakly, Orestes,
Pierre, George Hargrave in The Runaway, Deon, Kitely,
Lord Falconbridge in The English Merchant, and Arnold
in Edward, The Black Prince. Mr. Lewis also acted as
manager that year for Messrs. Younger and Mattocks.
It was about 1776 that Joseph Munden made his first
appearance here. He was then about eighteen years of age,
having been born in Brooks Street, London, in 1758. He
became ' stage-struck ' at an early age, and joined a band of
strollers. A performer (probably Shuter) with whom he
had scraped acquaintance, was engaged for the Royal, Liver-
pool, and with him Munden set out from the metropolis in the
hope of obtaining some employment in the theatre. His
hopes were not realised ; and he found himself in a strange
town, quite destitute ; his friend, however, kindly provided
him with food. Eventually Munden, being a skilful penman,
obtained a situation in the Town Clerk's office.
In the * Memoirs of Munden ' there is a footnotef in which
it is stated by the editor, the comedian's son, that 'the late
Mr. Pope presented me with the cash-book of this office (the
Town Clerk's), which had somehow fallen into his hands.
Munden's salarj' is there entered at ten shillings and sixpence
• Vol. I, p. 69. t P. 9-
68 ANNALS OF THE LIVERPOOL STAGE
a week ; it does not seem to have been suffered to remain long
in arrear.' According to Oxberry's ' Memoir of Mmiden,'*
he also obtained employment as a copyist at the theatre,
' to v^hich "»^as added the honour of walking in procession,
bearing banners, carrying links, and other little matters of
that agreeable description ; and for these dramatic efforts,
he received the handsome remmieration of one shilling per
night.'
Of Munden, ' EUa ' wrote: — ' I have seen this gifted actor
in Sir Christopher Curr^", in Old Domton, diffuse a glow
of sentiment which has made the pulse of a crowded theatre
beat Uke that of one man I have seen some faint ap-
proaches to this sort of excellence in other players. But in
the grand grotesque of farce, Munden stands out as single and
imaccompanied as Hogarth. Hogarth, strange to tell, had
no followers. The school of Munden began, and must end,
with himself.'
About this time, 1776, and onwards, a series of tiles were
printed in Liverpool with the portraits of famous actors and
actresses in character. The prints are similar to those in
' Bell's British Theatre.' Some of the printed tiles are in
the Liverpool IMuseum. The art of printing on earthen-
ware from copper plates was invented about 1756, by a Liver-
pool man, ]Mr. Sadler, who, in partnership with Guy Green,
carried on business at 14 and 16 Harrington Street, Liverpool.
Mr. Sadler's discovert' was accidentally made by seeing his
children stick pictures on broken pieces of pottery. The
following theatrical tiles were manufactured in Liverpool : —
Mrs. Abington as Estifania {Rule a Wife and Have a Wife) ;
Mrs. Barr>- as Sir Harry \1^ildair, and Athanais (Theodositis ;
or. The Force of Love) ; Mr. Bensley as Mahomet {Mahomet, The
Impostor) ; ]\Irs. Bulkley as Angelina {Love Makes a Man ; or.
The Fop's Fortune) ; Mrs. Gibber as Monimia {The Orphan ; or,
The Unhappy Marriage) ; Mr. F"oote as Fondlewife {The Old
Batchelor) ; Mr. Garrick as Abel Drugger {The Alchemist),
Sir John Brute {The Provoked Wife), and Don John {The
Chances) ; Mrs. Hartley as Lady Jane Grey, and as Imoinda
{Oroonoko) ; Miss P. Hopkins as Lavinia {Titus Andronicus) ;
Mr. King as Lissardo {The Wonder : a Woman Keeps a Secret) ;
Lee Lewes as Harlequin {Harlequin's Invasion), and as Sir
Peter Teazle {The School for Scandal) ; W.T. Lewis as Hippolitus
* ' Dramatic Biography ' (1825), Vol. II, p. 71. I
ANNAIwS OF THE LHTiRPOOI, STAGE 69
{Phcedra and Hippolitus), and as Douglas {Douglas) ;
Mrs. Lessingham as Ophelia {Hamlet) ; Mr. Macklia as Sir
Gilbert Wrangle {The Refusal; or. The Ladies' Philosophy),
and as Shylock {The Merchant of Venice) ; Mrs. Mattocks as
Princess Katherine {Henry V) ; Mr. Moody as Teague {The
Committee), and as Simon {Harlequin's Invasion) ; Mr. Smith
as Lord Townly {The Provoked Husband ; or, a Journey to Lon-
don) ; Mr. Shuter as Ivovegold {The Miser) ; Mrs. Ward as
Rodogune {The Royal Convert) ; Mr. Woodward as Razor
{The upholsterer), and as Petruchio {The Taming of the Shrew) ;
Mrs. Wrighton as Peggy {The Gentle Shepherd) ; ]\Ir. Wrough-
ton as Barnwell {The London Merchant ; or, the History of George
Barnwell) ; Mrs. Yates as Lady Townly {The Provoked Hus-
band), and as Jane Shore ; and Miss Younge as Zara {The
Mourning Bride).
In 1777, Mr. and Mrs. Siddons and her brother, John
Philip Kemble, were engaged at the Royal. This was Mr.
Kemble's first appearance on the Liverpool stage, and his
debtU was made on Friday evening, June 27, as the Earl of
Somerset in the tragedy of Sir Thomas Overbury. He also
spoke the prologue.
John Kemble (who was born at Prescot, February i, 1757)
made his first appearance on the stage at Wolverhampton,
January 8, 1776. When eight years old he was sent by his
father, Roger Kemble, to Douai, with the intention of quaU-
fying for the priesthood. The prospects of a restricted
mode of hfe induced him to quit Douai before he had attained
the age of twenty. On arriving in England he was coolly
received by his father, and seeing that his room was preferable
to his company, he hastened to join Chamberlain and Crump's
company at Wolverhampton, and he made his d^but there in
the character of Theodosius in Lee's tragedy so called.
His first effort was not very successful, but his second,
Bajazet in Tamerlane, met w4th more approval.
The salary of a provincial actor at that time was very
meagre ; and in this respect Kemble was no more for-
tunate than his brethren, albeit regarded as a rising performer.
On one occasion his pecuniary resources were so low that it
is related that he cotdd not even pay his laundress the sum of
fifteen pence, nor obtain credit for that amoimt ; she, conse-
quently, refused to deliver him his one and only shirt, which
70 '" ANNALS OF THE LIVERPOOL STAGE
he badly needed to dress for his part, Ventidius in All for Love.
The result was that he was reduced to the necessity of shifting
an odd ruffle from one wrist to the other, alternately, during
the performance, conceahng the temporarily bared wrist in
his coat to prevent the audience noticing the deficiency.
Kemble, at length, released himself from the managerial
authority of Chamberlain and Crump, but, previous to leaving
them, he chalked the following couplet upon the theatrical
barn-door : —
' I fly to shun impending ruin,
And leave the Fox to fight with Bruin.'
He then strolled about the country with a man named
Carleton, practising various schemes and experiments in order
to raise the necessaries of life. After undergoing a variety
of mortifying experiences and enduring all sorts of contumely
and neglect, we next hear of him at Worcester, where he was
arrested for debt. From durance vile he was released b}'- his
sister, Mrs. Siddons, and by her introduced to Mr. Younger.
On August 25, 1777, Falstaff's Wedding, Dr. Kenrick's
sequel to The Merry Wives of Windsor, was performed, with
Wilson as the Fat Knight. The play was originally produced
at Drur>' Lane, London, on April 12, 1766.
On Wednesday, December 3, 1777, Mrs. Siddons played
Hamlet for the third time on any stage ; Miss Farren was
Ophelia; J. P. Kemble, Laertes; Mr. Younger, Ghost ; Mr.
Siddons, Horatio. It was the occasion of Mrs. Siddons's bene-
fit, which she took with Barry, the treasurer of the theatre.
In an article by W. Moy Thomas on ' Lady Hamlets,' in 'The
Graphic,'* he says that she dressed the character in ' a black
fringed cloak draped about her like a lady's. shawl,' and that
the general effect was that of a ' burly, ill-formed man.'
' I played Hamlet in Liverpool ' she wrote to her friend,
Mrs. Inchbald, 'to nearly a hundred pounds, and I wish I had
taken it myself, but fear of charges, which you know are most
tremendous, persuaded me to take part of a benefit with Barry,
for which I have since been much blamed ; but he, I believe,
• June 17, 1899.J
ANNAI^ OF THE LIVBRPOOI. STAGE 71
was very much satisfied ; and indeed so am I. Strange res-
olutions are formed in a theatrical ministry ; one of them I
think very prudent (this little rogue Harry* is chattering to
such a degree I scarce know what I am about), but to proceed :
our managers have determined to employ no more exotics ;
they have found that Miss Younge's late visit to us (which you
must have heard of) has rather hurt than done them service ;
so that Liverpool must from this time forth be content with
such homely fare as we small folk can furnish to its delicate
sense. 't Miss Younge's first appearance in Liverpool was
made at this theatre on Monday, July 14, 1777. She was a
protege of Garrick's, and was excellent in both comedy and
tragedy.
From the first it was the invariable custom at the Theatre
Royal to have only London performers. An effort had pre-
viously been made by the lessees, Messrs. Younger and Mat-
tocks, to have, in imitation of Tate Wilkinson, a company
consisting of only provincial performers ; but an outcry of
such gravity was raised against the threatened mnovation
that the lessees very wisely desisted from putting into force
their intended scheme.
On several occasions they had, however, introduced with
gratifying success several provincial performers hke Mrs.
Siddons and INIiss Farren. Although they possessed no metro-
politan reputation these two budding geniuses became great
favourites with the Liverpool pubhc, and their popularity
probably emboldened the lessees to try and estabHsh a company
of unseasoned performers.
Their intended innovation for the dramatic season of
1778 soon leaked out, and, in consequence, they were threat-
ened by the townsmen with all manner of pains and penalties
if they persisted in their scheme. This time, however, the
lessees were not to be intimidated by any threats, and, accord-
ingly they engaged a company (consisting principally of cotm-
try performers, amongst whom were Mr. and Mrs. Siddons,
and J. P. Kemble) for the opening on June 15, 1778.
The eventful night arrived. Ominous signs of disorder
and discontent very early prevailed. To quieten the audience
and, if possible, to prevent a riot, Mr. Younger, before the play
• Henry Siddons, bom October 4, 1774.
t Boaden's ' Memoirs of Mrs. Inchbald,' Vol. II, p. 363.
72 '"ANNAIvS OF THE LIVERPOOL STAGE
began, advanced in front of the curtain. * In vain,' wrote
J. P. Kemble in a letter (dated June i8, 1778) to Mrs.
Inchbald, who was then at Leeds, ' did he attempt to ora-
torize ; the remorseless villains threw up their hats, hissed,
kicked, stamped, bawled, did everything to prevent him being
heard. After two or three fruitless entrances, and saluted
with volleys of potatoes and broken bottles, he thought proper
to depute Mr. Siddons as his advocate, who entered bearing
a board, large enough to secure his person, inscribed with
]\Ir. Younger's petition to be heard. The rogues would hear
nothing, and Siddons may thank his wooden protector that
his bones are whole. Mrs. Siddons entered next P.S., and
iMrs. Kniveton O.P. — mais aussi infortunhs — hi hien 1 —
Madame Kniveton a la mauvaise fortune de toniber dans une
convulsion siir les planes : the wretches laughed, and would
willingly have sent a peal of shouts after her into the
next world loud enough to have burst the gates of her des-
tination. They next extinguished all the lights round the
house ; then jumped upon the stage ; brushed every lamp out
with their hats ; took back their money ; left the theatre and
determined themselves to repeat this till they have another
company I had almost forgotten to tell you that
every wall in the town is covered with verse and prose expressive
of the contempt they hold us in.'*
Kemble is reported to have asked the local public ' Shall
I tell you what you are Uke ? You are like Captain Driver
in Oroonoko.' The tragedy of Oroonoko was at that time
prohibited from the local stage as reflecting too much on the
conduct of those Liverpool merchants who were engaged in
the Slave Trade. After this engagement, ' Black Jack,'
as George Frederick Cooke termed the peerless Kemble, did
not perform again in Liverpool until 1784.
On June 26, 1778, The School for Scandal was played by
* particular permission of the author.' August 21 saw John
Henderson as Richard III ; and on the following night,
Lee Lewes appeared as Harlequin in The Birth and Adventures
of Harlequin. Henderson, from all accounts, was a fine actor ;
' his Hamlet and his Falstaff,' says Rogers, ' were equally good. '
Boaden states that Lee Lewes was ' a comedian of the
* Boaden's^' Memoirs of Mrs. Inchbald,' Vol. I, pp. 91-3.
AXNALS OF THE LR^RPOOL STAGE 73
Woodward class, and, like him, an excellent ground
harlequin.' Lewes was bom in 1740, and died in 1803.
The company for the summer season of 1779 included
Mrs. vSiddons, Mrs. Ward, Mrs. Baddeley ; Messrs. Lee Lewes,
Kniveton, Quick, Booth, Siddons, and Hollingsworth. Hol-
lingsworth made, when a boy, his first appearance on the stage
at this theatre, Mr. Younger being sponsor. His line was
low comedy. He was also considered an excellent clown
in pantomime. After having performed at York, Edinburgh,
Manchester, etc., he joined the Drury Lane company.
Hollingsworth played at the Liverpool Royal for many years.
He must have died at an advanced age, for when Miss
O'Neill appeared in 1815 at the local Theatre Royal, he
supported her in The Fatal Marriage.
On one occasion when Hollingsworth was playing at the
Royal, he, during an interval, went to have a look at the
audience through a favourite peep-hole in the curtain. A mis-
chievous fellow in the gallery noticed the actor surveying the
house, and with considerable force threw a knife at him,
happily, however, missing his mark.*
Disturbances at the Royal on the part of the audience had,
for some considerable time, been a source of great anxiety to
the lessees, Messrs. Younger and Mattocks. In 1779 they
applied to the Court of King's Bench for leave to file a criminal
information against several respectable townsmen who were
supposed to be in the habit of frequenting the theatre in order
to create a disturbance. The action, however, was discontinued
on payment of costs. At the same time the Court was
informed, ' that the defendants wished to meet the plaintiffs
in issue, in order to evince the propriety of their conduct, and
to maintain the exercise of their judgment, to approve or dis-
approve individually, during the representation of theatrical
performances ; but as they are not influenced by personal or
by hostile motives towards Mr. Younger, they had directed
their solicitor to return Messrs. Younger and Mattocks their
costs, after the discontinuance of the action. 'f
During 1779 the bills of the play contained the announce-
ment that ' Those ladies and gentlemen who have taken places
are requested to send their servants by six o'clock to keep them.'
• ' The Theatric Tourist ' (1805), p. 51.
t ' Gore's General Advertiser,' June 2, 1779.
74 ANNALS OF THE LIVERPOOIv STAGE
There is no mention that the servants would be afterwards
admitted into the gallery- without payment.
On the occasion of Mr. Aldridge's benefit on August 25,
1779, there was introduced the grand pantomimical dance,
entitled ' The Liverpool Prize ; or, Who's Afraid ? ' with a
view of the arrival of the ' Mentor ' and her prize, the ' Car-
natic'
August 28, 1780, witnessed the production of a new inter-
lude, entitled Derby Wakes, in the course of which there was
exhibited a representation of bull-baiting. This piece was
founded on the wakes, which, for many years, used to be held
at West Derby, Liverpool. In addition to other forms of
amusement, the cruel sport of bull-baiting was freely indulged
in.
Apropos of these wakes, Brooke tells the folloAving story
in his ' Liverpool '* : 'On one occasion, a party of sailors went
to West Derby and brought the bull to Liverpool, resolved
to conclude the frolic by showing him the play, and actually
dragged him by means of ropes tied to his horns into the
theatre, and introduced his head into one of the centre boxes ;
and then, as he had seen (to use their own expression) the play,
they led him out. There was no great difficulty in getting
him in or out, because the principal entrance door was in the
middle of the front of the theatre, with an ascent from Will-
iamson Square, of only two or three steps, and was exactly
opposite the centre boxes.' ]\Ir. Brooke's father was in the
theatre at the time this occurrence took place, but he could
no t^' recollect the date. In Troughton's ' Liverpool,'! the
date is given as 1783.
The elder Farren played here during the season of 1781.
On Jime 5, he appeared as Charles Surface in The School for
Scandal. On July 28 of the same year was performed Har-
lequin Freemason, ' to conclude with a procession of the Grand
Masters from the Creation to the present time.' On the occa-
sion^of Mrs. Mattocks' benefit on September 5, 1781, it was
annoimced that the theatre would be ' illuminated with wax.'
Two^ days later Mrs. Kniveton had her ' bespeak ' when, by
desire of the Earl of Derby, The Generous Impostor was per-
formed.
• p. 267.' t P-'gS.
ANNALS OF THE IvIVERPOOL STAGE 75
One of the members of the company in 1782 was an
erratic comedian named Tony Le Bnin, who was no less remark-
able for his singular simplicity than his extreme fondness for
angling. Of Tony it is recorded that when he was a member
of the company at the Royal, ' he laid one evening several lines
in a stream near the town, in hopes of procuring an excellent
dinner for the next day. In the course of the night, a theat-
rical wag belonging to the same company went to the place,
drew up his hooks, and on some of them fixed red herrings, and
on others sparrows, carefully placing them again in the former
situation. Early in the morning, Tony went with a friend,
to secure his expected prize, and drew up the red herrings ;
upon which he said, ' Before God ! here are herrings ! and, upon
my faith, ready pickled too ! ' Proceeding further, he drew
the sparrows on shore : after examining them attentively, he
exclaimed, ' God bless my soul ! this is indeed very surprising !
I don't wonder at catching the red herrings, because they were
in their own element, but I really never before thought that
birds lived in water 1 I should as soon have expected to have
shot fish in the air ! But I will take care and not be dis-
appointed a second time, by lajdng my lines here for fresh fish.'"^
For the benefit of William Farren on August 28, 1782, The
East Indian, ' a new comedy as it is now performing at the
Theatre Royal in the Haymarket with universal applause,'
was submitted. The representation was ' by permission of
the author and manager of the Theatre Roj-al, Haymarket,*
and it was also announced * that the comedy cannot on any
account be performed after that evening, as the manuscript,
which is kindly lent him for that night only, must be returned
to London the day after the performance.' The principal
characters were undertaken by Messrs. Henderson, Farren,
Thompson, Suett, PhiUimore, Hollingsworth, Quick, Mrs.
Kniveton, and Mrs. Mattocks. The season's receipts amoimt-
ed to £3,000.
The theatre re-opened on June g, 1783. In the company
were Mrs. Siddons and Messrs. Henderson and Farren.
This was Mrs. Siddons's first appearance here since 1779, and
the first time that she and Henderson had played together.
' Williamson's Advertiser ' says that ' the ^theatre was
• Oxberry's ' Dramatic Biographyj' (1825), p. 261.
76 ANNAIvS OF THE LIVERPOOL STAGE
extremely crowded. Large sums were offered for seats, but
there were none to be had.' Mrs. Siddons afterwards sailed
for Dublin, where she was engaged for the summer season.
December 13 of that year was a Freemason's night. The
performance was for the benefit of Mr. and Mrs. Stephen
Kemble. The stage was fitted up in representation of a
Mason's Lodge. The ceremony opened with the Master and
Brethren singing ' Hail, Masonry Divine,' after which an
epilogue was given by Sister Kemble, who was dressed in the
character of a Freemason's wife, with the apron, jewels, etc.,
of a Master INIason. An ode in honour of IMasonry was
delivered by Brother Kemble, who sat as Master of the
Lodge. The function concluded with ' Wlien Earth's Found-
ation First Was Laid.' There was also performed a musical
entertainment, written by Mrs. Kemble, entitled The Elope-
ment ; or, The Liverpool Welcome. The performance was
by desire of the Ancient and Honourable Fraternity of Free
and Accepted Freemasons, who, prior to the representation,
walked in procession from the St. George's Coffee House in
Castle Street to the theatre.
John Philip Kemble was here during the summer of 1784.
' By this agreement a copy of which I have seen,' writes
Fitzgerald, ' he was to perform in all plays, farces, operas,
and pantomimes, and all for the modest sum of ten shillings
a night, and a benefit which was to be subjected to the
thirt>'-five pounds' deduction, the charges of the house.'*
* The provincial engagements of Mr. Kemble,' says Boa-
den, ' produced for him frequent mortification, and little of
either profit or fame, with the exception of Manchester and
Liverpool, in both of these towns he left a favourable impres-
sion, which has constantly been kept up by summer engage-
ments.'t During his engagement at the Royal in 1784, he
played Hamlet, Jaques, Leontes, Prospero, Malvolio, Don
Felix, and Beverley.
On September 4, 1784, Joseph Younger, one of the lessees
of the theatre passed over to the majority. He was 52 years
of age when he died, and the interment took place on Septem-
ber 7, in Sefton Churchyard. J The grave, which is situated
* ' Lives of the Kembles,' Vol. I, p. 178-9.
t ' Memoirs of the Life of John Phihp Kemble,' Vol. I, p. 20.
t Boaden, In his ' Memoirs of The Life of John Philip Kemble,' erroneously states
that Yoimger died on September 3, 1784, in his 50th year.
ANNALS OF THE LIVERPOOIv STAGE ^j
in a secluded comer by the western wall of the church, is cov-
ered by a plain flat stone, the cost of which was defrayed by
Mr. Forres and a few others.
Boaden says that Younger was an indifferent actor ; yet
he had good judgment and an extensive knowledge of the
stage. ' To show,' he writes, * the fluctuation of popular
favour, it may be well to record that, about seven years
before Mr. Younger's death, he found himself at Mattocks's
theatre in Birmingham, opposed to Henderson, who was at
Yates's in the same town. The play was Lear at both
houses ; and thus curiously contrasted in the principal char-
acters : —
"Lear Henderson against Younger
Cordelia .... The Siddons and Mrs. IMattocks ! ! "
' The great talents played to about half the nightly charges,
and the house of their surprising rivals literally overflowed.'*
Younger had rich relations, and it is stated that he formed
expectations which were not realised. At his death he was
indebted to the elder Colman in the sum of ;^i,200, and to
Garton, the treasurer of Covent Garden Theatre, he owed as
much as £5,000. Boaden says that Garton had as security a
mortgage upon the Liverpool and Manchester theatres. In
respect to the Liverpool theatre the probability is that Garton
had only a lien on the lease. After Younger's death Mattocks
became sole lessee of the Liverpool Theatre Royal.
George Frederick Cooke visited Liverpool (apparently,
for the first time) in the autumn of 1784, after having acted at
Manchester. He played Sciolto ijhe Fair Penitent), Bellar-
ius (Cymbeline) , Claudio {Much Ado About Nothing), Friar
Tuck {Robin Hood), etc. Cooke was born in 1756, and his
first regular attempt as an actor was made at Brentford in
1776. Of him it was truly observed that he did not play
many parts well, but that he plaj-ed those he did play well
better than anyone else.
On September 11, 1785, charming Mrs. Abington (the
original Lady Teazle) made her first appearance on this stage,
in playing Charlotte in The Hypocrite. Mrs. Abington was
born in 1731 and died in the year of Waterloo. Of her
•/Memoirs of The I,ife ol John Philip Kemble,' Vol. I, p. 200.
78 ANNALS OF THE LIVERPOOI. STAGE
Da vies writes : — ' Her person is formed with great elegance, her
address is graceful, her looks animated and expressive.' Dr.
Johnson was solicited by Mrs. Abington to attend her benefit.
He went. Boswell's inquisitiveness broke out. Good nature
might have kept him quiet. ' Why, sir, did you go to Mrs.
Abington's benefit ? Did you see ? ' * No sir.' * Did you
hear ? ' * No, sir.' ' Why then did you go ? ' * Because,
sir, she is a favourite with the public ; and when the public
care a thousandth part for you that it does for her, I will go
to your benefit too.'
The veteran actor, Charles Macklin, commenced a short
engagement at the Theatre Royal, on October 7, 1785, open-
ing as Sir Archy MacSarcasm in Love a la Mode. He also per-
formed Shylock, ' the Jew that Shakespeare drew,' on October
14, and Sir Pertinax MacSycophant in The Way of the World
three nights later.
Prior to fulfilling this engagement Macklin had been asked
by'Mattocks if he knew of any young man capable of playing
Gentlemen Fops and Tragedy in lyiverpool and Manchester.
A very likely young actor named Macready (afterwards father
of WilHam Charles Macready) presented himself to Mr.
Macklin while the latter was performing at the Smock
Alley Theatre, Dublin. In a letter dated August 18,
1785, preserved in the British Museum, Macklin wrote
to Macready, who was then at Waterford, acquainting
him of Mr. Mattocks' wants, and pointing out ' that it
might be a step towards his being introduced to Covent
Garden Theatre.' Macready was introduced by Macklin
to ' Mattocks, and by him engaged. In the course of
the winter he played the Duke of Suffolk {Lady Jane Grey),
Harry Stukely [All the World's a Stage), Stephano {The Tem-
pest) , Trueman [George Barnwell) , Altamont [The Fair Penitent) ,
and Pylades [The Distrest Mother). Macklin was as good as
his word in procuring Macready a London engagement, and
the young actor duly appeared at Covent Garden on Septem-
ber 18, 1796.
On Thursday, September 14, 1786, Mrs. Jordan, the cele-
brated actress, played HippoHta in She Wou d and She Wou'd
Not, and the Romp in the farce of that name.
Mrs. Jordan was bom in 1762, at Waterford, and was the
natural daughter of a Captain Bland, her mother being one of
ANNALS OF THE IvIVHRPOOI. STAGE 79
the olive branches of a poor Welsh clergyman. Dorothy-
Bland commenced her stage career in Dublin as Miss Francis,
afterwards migrating to Tate Wilkinson, where she assumed
the name of Jordan, as the eccentric York manager had spoken
of her flight across the channel as ' Crossing Jordan. ' Dorothy
soon reached the top rungs of the histrionic ladder of fame, both
in comedy and tragedy, but * Thalia's favourite child ' soon
found that ' laughing agreed with her better than cr>-ing,' and
so abandoned the buskin. Her connection with the Duke of
Clarence is well known. By him she had several children.
Finally, unbefriended and in sad distress, she withdrew to St.
Cloud, in France, where she died on July 31, 1816. When
the Duke became King William IV, he ennobled all their chil-
dren, raising the eldest to the rank of Earl of Munster.*
Of Mrs. Jordan, Hazlitt penned the following eulogy : —
' It was not as an actress, but as herself that she charmed
everyone. Nature had formed her in her most prodigal
humour ; and when nature is in the humour to make a woman
all that is dehghtful, she does it most effectually. Her face,
her tones, her manner, were irresistible ; her smile had the
effect of sunshine, and her laugh did one good to hear it ; her
voice was eloquence itself — it seemed as if her heart were
always in her mouth. She was all gaiety, openness and good
nature ; she rioted in her fine animal spirits, and gave more
pleasure than other actresses because she had the greatest
spirit of enjojonent in herself.'
It is recorded that on one occasion when Mrs. Jordan
came to the Royal to perfonn she felt ill and languid ; ' but in
a quarter of an hour, her very nature seemed to undergo a
metamorphosis ; the sudden change in her manner appeared
almost miraculous. She walked spiritedly across the stage
two or three times, as if to measure its extent ; and the mo-
ment her foot touched the boards her spirit seemed to be re-
generated. She cheered up, hummed an air, stepped light
and quick, and every symptom of depression vanished. 't
On December 13, 1786, Captain Ash played Captain
Macheath in The Beggar's Opera, for the first time
• In tlie autumn of 1902, a house of history In histrionics was pulled down at the comer
of Birkett Street and Richmond Row, I,iverpool. About half-a-century ago its tenant
was a daughter of Mrs. Jordan, the famous actress. A son of Mrs. Jordan also resided for
some years in one of the houses on the right-hand side of GradweU Street, coming from
Hanover Street.
t ' The Stage and The Players,' by John Diprose, p. 61.
8o ANNAI^ OF THE IvIVERPOOL STAGE
locally. ' In the first act,' says Winston ' he wore a
morning dress ; a full dress in the second ; and a suit of
black in the last ; he had a clean shirt for every act — an
instance of cleanliness only to be exceeded by that of a brother
captain who washed his money. This process, for which the
Green Room was allotted to him, detained the audience be-
tween the acts a good half-hour.'*
I may mention here that in emulation of the Covent Garden
and Drurj'- Ivane Funds for the reUef of old actors, an attempt
was made in 1786 by a Mr. Wilhamson to establish, in connex-
ion with the Royal, a Liverpool Theatrical Fund.t Winston
states that this fund proved a failure.
Another fund was inaugurated on August 29, 1818. It
was called the Liverpool and Manchester Theatrical Fund,
and was estabhshed to afford permanent assistance to such
actors and actresses as age, infirmity, or accident should ren-
der incapable of pursuing their profession. It was supported
by weekly subscriptions from the members of the companies
engaged at the Liverpool and Manchester Theatres, and by
occasional donations from merchants and others. It was
agreed at the beginning that no claim should be recog-
nised for the first seven years, so that a substantial sum might
accumulate. The scheme was inaugurated at the King's
Arms, Castle Street. Mr. John Wright presided. The Mayor,
Mr. Thomas Case, and Messrs. John Banks and John M.
Vandenhoflt were also present. Miss O'Neill subscribed
twenty guineas to the fund.
In 1819, the patrons of the Liverpool Theatrical Fund
included the Right Hon. George Canning and Mr. Thomas
Earle ; Mr. Thomas Case was the president ; Messrs. Thomas
Knight, Thomas Lewis, and John Banks of the local Royal,
were the trustees ; and ]\Ir. Banks was the treasurer. In 1819
the annual dinner was held at the King's Arms. Previously
the inn was known as the Liverpool Arms. The site is now
occupied by the branch Bank of England. Macready in his
' Reminiscences 't (mentions that on his arrival in Liverpool
for the summer dramatic season of 1820 he was present at the
aimual dinner given in aid of the Liverpool and Manchester
• ' The Theatric Tourist ' (1805), p. 52.
t At that time this was the only fund out of London, Bath excepted, the Theatre
Royal, Norwich, Fund not being established until January 21, 1791.
J Edited by Sir Frederick Pollock, Bart., Vol. I, p. 218,
ANNALS OF THE LIVERPOOL STAGE 8i
Theatrical Fund, at which the Mayor, Sir John Tobin, Knt., was
present, ' To this,' says Macready, ' as to all other provincial
theatrical charities, I subscribed my £10 ; but I should have
acted more wisely in keeping my money in my pocket. A very
considerable sum was accumulated in course of a few years,
which was unjustly, and dishonestly, in my opinion, as a mani-
fest diversion from the purpose of the endowment, divided
amongst the few remaining members of the fimd. If no
legitimate claimants for relief were left, it ought to have been
transferred to some other similar charity, or the different
contributions returned to their subscribers.' WTien the fund
ceased to exist I cannot say definitely. At any rate a Liver-
pool Theatrical Fund was in existence in 1830-1, as it is re-
ferred to in ' The Picture of Liverpool.'
Mr. Mattocks remained sole lessee of the Royal until 1786,
in which year he retired from the management financially
ruined. On December 21, 1786, the Privy Seal Bill was
signed, and a few days later a new patent was granted to George
Case, one of the trustees for the proprietors of the theatre.
The licence granted to Mr. Case was for fifteen j-ears, and to
date from midsummer, 1792, when the patent granted for
twenty-one years in 1771 to William Gibson expired. The
patent was renewed by Mr. Case in 1807 ^or twenty-one years,
and again in 1828 for a further period of twenty-one years.
In 1786 Francis Aickin was manager for the proprietors,
and a Mr. Johnson the following year. Aickin was born
in Dublin, and was brought up to his father's trade, which was
that of a weaver. Emulating his brother James's example
he became a strolling player, choosing the character of George
Barnwell in the tragedy of that name for his first appearance.
After playing various other parts he became associated with
the Smock Alley Theatre, Dublin. On May 17, 1765, he made
his first appearance at Drury Lane in the part of Dick in The
Confederacy. On June 12, 1786, he made his first appearance
at the Theatre Roj-al, Liverpool, as Evander in The Grecian
Daughter. Aickin acquired considerable fame at Drury Lane,
where he remained until about the close of 1773-4. After-
wards he went over to Co vent Garden. For a time he left
the stage and having married an Irish lad}' of good family,
he turned hosier .n York Street, Covent Garden, where he was
patronised by both royalty and nobility. On the death of his
82 ANNATE OF THE IvIVERPOOIv STAGE
wife he closed his shop, and set out for liverpool to take up
the management of the Royal. At first his venture was not a
great success, but it afterwards must have proved of consider-
able gain to him as, until the beginning of the nineteenth cen-
tury, he was associated in a managerial capacity with the des-
tinies of the Liverpool Theatre.
At one period of his career Aickin was associated with
John Jackson in the management of the Edinburgh Theatre.
Tyrants in tragedy and serious parts in comedy were Francis
Aickin's forte. It was owing to his impassioned delivery of
tragedy parts that he won the nick-name of ' Tyrant Aickin '
— * a character in private life no man was more the reverse,
either in temper or the duties of friendship.' Genest* gives
a list of upwards of eighty characters which Francis Aickin
had appeared in. We are told he was of pleasing appearance
and declaimed both sonorously and distinctly.
On January i, 1789, Aickin and John Philip Kemble
obtained a seven years' lease of the theatre. ' I heard at the
time,' says Boaden, ' that the consideration they were to
give was ;^i,200 down and a rent of ;^350 per annum. 'f
Boaden further states that ' Mr. Kemble opened (June 15,
1789) the theatre with an address by M. P. Andrews, which
said or seemed to say, some trash like the following : —
" For me, the new-made monarch, fix'd by fate
To sway the sceptre of this mimic state.
May the reign prosper, as desert shall seem."
' A new-made monarch, fix'd by fate,' to * prosper as
desert shall seem,' writes Boaden, ' is a combination of non-
sense so exquisite that it wanted only a proper mouth, like
Iviston's, to give it utterance.' The plays submitted were
The Impostor and The Waterman.
^Irs. Charles IMathews records (without date) an amusing
storj' of an actor named Holland who played at the Royal
during one of John Kemble's visits.
Charles Holland was a very anxious actor, and on
one occasion he played Horatio to Kemble's Hamlet. He
was very nervous, and though he got on well in the earlier
•Vol. VII, p. III.
t ' Memoirs of The Life of John Philip Kemble,' Vol. I, p. 451.
ANNAI.S OF THE LI\^RPOOL STAGE 83
scenes of the tragedy, feverish anxiety made him have
recourse to a Httle false courage. He therefore sent a
little boy, a hanger-on of the carpenters, to the tavern next
door for a glass of cold brandy-and-water. Away rushed the
boy, and returned with a huge tumbler filled to the brim. Mr.
Holland drained the glass to the very dregs, and in doing so
noticed a dark red sediment at the bottom of the glass. He
had barely asked what filthy stuff had been mixed with the
brandy-and-water when his * cue ' was given. While on the
stage he noticed the landlady of the tavern standing at the
wings with several of the performers, who seemed listening to
some awful tale of woe she was unfolding. From time to time
she looked anxiously towards Mr. Holland, and made as if to
approach him. He, however, motioned her ' to a more re-
moved ground.' At last the scene was concluded, and Mr.
Holland asked her ' What's the matter, my good woman ? '
Thus addressed she only cried the more, and with hands and
eyes uplifted in supplication begged his forgiveness. ' For-
giveness for what ? ' queried Holland. * Oh, sir ! Oh, sir I
oh, Mr. Holland, you are a dead man ; you are poisoned,' she
replied. ' Poisoned ? ' cried Holland, ' Oh, yes, sir, you are
indeed ! I didn't know what I had done, till you sent back the
tumbler. Oh, sir ! red arsenic, kept to poison the rats ; didn't
see what glass I took off the shelf, your boy was in such a hurry,
only one candle in the bar — didn't notice anything was in it —
oh, that unlucky tumbler ! '
Poor Holland did not know what to do. Everyone seem-
ed paralysed with fear ; but they assisted Mr. Holland to a
chair for he felt his sufferings of mind increasing every moment.
Kemble seeing the commotion asked what was the matter.
Holland told him that he was poisoned. ' Well, well,' said
the tragedian (patting him on the back), ' never mind, my good
fellow, you can play the rest of your part, I dare say, if you are
poisoned — the tragedy can't finish without you.' ' It will
finish with me, Mr. Kemble,' exclaimed the unhappy man.
However, Holland braced himself up to go through the
remainder of the play, and at the conclusion, the rat-destroy-
ing hostess again appeared before him. This time her face
bore a joyful expression, and she deposed to the effect that
Mr. Holland had not taken the deadly potion after all, as her
husband had found the identical tumbler containing it. The
84 ANNALS OF THE LIVERPOOIv STAGE
little errand-boy was questioned, and it was elicited that in
hastening for the brandy-and-water he snatched, as he passed,
a tumbler from the shelf of the property-room, without looking
whether it was clean, or not. This glass, the property man
explained, had had some rose-pink prepared in it the evening
before for Macbeth.*
During the summer season of 1789 Miss Romanzini played
at the Royal, and became a favourite, both as an actress and a
concert singer. About this period she married Mr. Bland,
brother to Mrs. Jordan. f
For the months of November and December, 1789, the
Royal was rented by Stephen Kemble, who opened on Nov-
ember 4, with The School for Scandal and The Virgin Unmasked.
The performers engaged were from the Theatres Royal in
London, Dublin and Bath. During the month several com-
plaints were received as to the coldness of the theatre. Mr.
Kemble thereupon made it known ' that he had placed a large
stove in the middle of the pit, and two others in the upper and
imder box lobbies, which, he is informed, will make the house
warm and comfortable.'
Stephen Kemble was a very corpulent man, one able to
play Falstaff ' without stuffing.' He married a very beautiful
and clever woman, Miss Satchell, the daughter of a musical
instrument maker. It was to this lady that the poet Burns
addressed the following hues, on seeing her in the character of
Yarico, at Dumfries, on October 21, 1794 : —
* Kemble, thou curest my unbelief of Moses and his rod ;
At Yarico's sweet notes of grief,
The rock with tears had flow'd.'
Mrs. Siddons was here in November, 1789, and on the
twenty-third of the month she played Alicia in Jane Shore for
the first time in Liverpool. On December 30 following,
Stephen Kemble took a benefit. One of the plays for the
occasion was a new one-act piece, entitled The Genius of
Liverpool, written by Mr. Harpley.
The principal performers during the dramatic season of
1790 were Messrs. Stephen Kemble, Barrymore, Aickin, Suett,
• ' Anecdotes of Actors," p. 47. f Vide GUlUand's ' Dramatic Mirror. '
ANNAI^ OF THE LIVERPOOL STAGE 85
Dignum, Miss Romanzini ; and Mesdames Billington, Kemble,
Mattocks, Hopkins, and Ward.
The following year (1791), the dramatic season was in-
augurated on June 20. Love Makes a Man was the opening
attraction, and the company included Mesdames Billington,
Ward, Mountain, and Quick ; Messrs. Aickin, Quick, Ward,
Digniun, Whitfield, Pope, Fox, and Munden.
For the musical festival week of 1791, the theatre was
let to Messrs. Ward and Banks, who gave Thomas Dibdin his
first and long-coveted engagement at a Theatre Royal. Dibdin
tells us that ' Mrs. Billington sang at the theatre, as well as
the oratorios ; and the managers who had engaged the theatre
only during the festival had reason to be well pleased with
their adventure, although on one particular night, there were
so few people in the theatre, that their money was returned,
and the house dismissed. I had heard of, but never witnessed,
a similar occurrence in inferior theatres ; and did not imagine
it could have happened in such a towTi as Liverpool.'*
Thomas Dibdin was a son of Charles Dibdin, the celebrated
dramatist and writer of nautical songs. Charles Dibdin gave
his popular entertainments on more than one occasion in the
' Golden Lion,' Dale Street. ' Tom ' Dibdin was also a very
successful dramatist. His god-fathers were David Garrick
and Francis Aickin. Mr. E. R. Dibdin, the popular curator
of the Walker Art Gallery, is ' Tom ' Dibdin's only surviving
grand-nephew.
Thomas Dibdin was engaged by jMr. Aickin for the
1792 season at the Royal. At his first interview with Aickin,
Dibdin ventured to inform him that he was spiritually related
to him, as he (Aickin) had answered for him at the font. Aic-
kin's answer in his gentlemanly half-Irish accent was, ' Shiver
me, sir, I remember the ceremony, but upon my honour, I did
not recollect you ; ' ' which ' adds Dibdin, ' was by no means
astonishing considering we had never met since the said cere-
mony had taken place.'
The 1791 season terminated on September 7, on which
occasion Mr. Betterton took a benefit. The house was very
crowded, paying patrons being congregated on the stage as
well as round the ventilator in the ceiUng over the pit. The
• ' The Reminiscences of Thomas Dibdin ' {1837), pp. iio-iii.
86 ANNAI.S OF THE LIVERPOOL STAGE
receipts amounted to ^231 17s., besides gold tickets. *
Betterton was the father of the famous Mrs. Glover.
On December 31, 1792, the trustees, on behalf of the pro-
prietors of the theatre, granted a seven years' lease to Mr.
Aickin at a yearly rental of ;^350, to date from the expiration
of Aickin and John Philip Kemble's lease on January i, 1796.
This lease, which I have seen, was doubtless soUcited by
Mr. Aickin in order that he might recoup himself for the
money he had expended in raising the roof of the theatre,
erecting a new gallery, and building a new colonnade over the
principal entrance in Williamson Square.
Messrs. Caulfield and Farley played in the masque of
Comus, on August 5, 1793. October 5 of the same year saw
Mr. Aickin as Jaques and Mrs. Siddons as Rosalind (with song,
'The Echo'). On November 11, Mrs. Crouch and Michael
Kelly appeared in The Maid of the Mill, and on November 22,
Mr. Kemble performed in Henry V.
The theatre re-opened on June 23, i794,upon which occasion
Henry Siddons, junior, made, as Young Domton in The Road to
Ruin, his first appearance on the local stage. During the
season Munden, Betterton, Incledon, and Bannister, junior,
performed. On August 18, O'Keeffe's one-act piece, Peeping
Tom, was revived, Miss Valois being the Lady Godiva. In
addition to other plays Messrs. Siddons and Holland had for
their benefit on October 3, a one-act piece, entitled The Liver-
pool Prize ; or, An Offering to Britannia, in which there was ' a
grand procession of all the nations of the world, the Genius of
Liverpool in a Triumphant Car, attended by Loyalty, Peace,
Commerce, and Plenty.'
The season of 1795 saw Messrs. Munden, Incledon, Lee
Lewes, and Bannister, jimior. On August 31, the town was
regaled with a lady Hamlet in the person of Mrs. Powell.
During the season, a Miss Sylvester performed a variety of
respectable parts. She was the daughter of a Mr. John Silvester
Hay, a surgeon. She first appeared at Richmond in 1792, and
afterwards spent almost a year in Scotland. Mr. Aickin engaged
her for the Royal with a promise of every encouragement to
render her happy and popular, but according to Gilliland's
* Dramatic Mirror,' the lessee did not keep his word, and she
"'^* Holt and Gregson MSS.
ANNALS OF THE LIVERPOOI. STAGE %7
returned to London before the end of the season. Not long
afterwards she married John Litchfield, a literary man,
who was an intimate friend of Charles Mathews. Many of
Litchfield's letters are given in ' The Life and Correspondence
of Charles Mathews,' by Mrs. Mathews. ' Mrs. Litchfield,'
says Genest, ' had great judgment, and one of the finest voices
that was ever heard.'*
The unruliness of a certain section of the frequenters of
the Royal had long been proverbial ; in fact, so atrocious was
their conduct, that the editor of ' Gore's Advertiser ' felt con-
strained to publish the following in the interests of the theatre
in his issue for September 24, 1795 : — ' We cannot help ex-
pressing our astonishment that no steps are taken to curb the
disorderly proceedings which every night take place in the
Gallery, but particularly in the side slips, from which the people
in the Pit are pelted during the whole of the performance, and
their lives put in danger by drunken fellows traversing round
on the outside of the iron rails. A man repeatedly attempted
last night, to throw one of the chandeliers into the Pit,
and was sufi'ered singly to continue to brave and insult
the whole house. As long as these slips remain a part of the
Gallery, a play will never be heard in this House, nor will the
audience in the Pit or Upper Boxes have any comfort : several
Boxes were evacuated last night in consequence of the streams
which descended from above, and some of the company in the
Pit had their cloths soiled in the same abominable manner.'
On June 10, 1796, Harriot Mellon (afterwards the Duchess
of St. Albans) arrived in Liverpool with her step-father and
mother, and took lodgings at a hosier's. On the 22nd she
made her first appearance at the Theatre Royal, where she
was destined to become a great favourite. * Her engagement,'
says her biographer, Mrs. Cornwell Baron-Wilson, f ' was for
the season at two pounds per week, and half a clear benefit,
which were thought very handsome terms. She improved
exceedingly here ; and as she had understudied many principal
characters whilst in town, she had now an opportunity of
essaying her powers in their representation Young,
and with a quick ear, she had caught the tones of some of the
original performers, but who had not been seen in plays
' . • Vol. VIII, p.'ig. t 'Memoirs of Miss Mellon,' Vol. I, p. i74-
88 ANNALS OF THE LI\nRRPOOIv STAGE
presented for the first time at lyiverpool ; she had, therefore, the
place of the London favourite ; and it occurred more than once,
that when the originals subsequently acted the parts in the
country, they were deemed copiers or borrowers from Miss
Mellon.' On August 17, she took her half-benefit, played
Sabina Rosni in First Love, spoke an address and epilogue,
appeared as Polly in Polly Honeycomb, and the Page in
Follies of a Day, in which she introduced two songs. The
half-benefit realised for her £130, and she obtained about £2$
more by her engagement. WTiile here, Miss Mellon was intro-
duced to ]\Irs. Siddons, with whom she became a great
favourite.
The following amusing incident occurred during one of
Miss Mellon' s early visits to the Theatre Royal : ' When I was
a poor girl,' she used to recount, ' working very hard for my
thirty shillings a week, I went down to Liverpool during
the holida5^s, where I was alwaj^s kindly received, and
■derived the greatest advantage from all mj^ benefits. I was
to perform in a new piece, something Hke those pretty little
affecting dramas they get up now at the minor theatres ; and
in my character I represented a poor, friendless, orphan girl,
reduced to the most wretched poverty. A heartless trades-
man persecutes the sad heroine for a heavy debt, owing to
him by her family, and insists on putting her in prison, unless
someone will be bail for her. The girl rephes, " Then I have
no hope — I have not a friend in the world." " What, will no
one go bail for you, to save you from prison ? " asked the stem
creditor. " I have told you I have not a friend on earth,"
was my reply. But just as I was uttering the words, my eyes
were attracted by the movements of a sailor in the upper
galler>% who, springing over the railings, was letting himself
dowTi from one tier to another, until he finally reached the pit ;
he bounded clear over the orchestra and footlights, and
placed himself beside me in a moment, before I could believe
the evidence of my senses.
* " Yes, 3'ou shall have one friend at least, my poor young
woman," said he, with the greatest expression of feeling in
his honest, sim-bumt countenance. " I will go bail for you to
any amount. And as for you (turning to the frightened
actor), if you don't bear a hand and shift your moorings, you
ANNALS OF THE LIVERPOOL STAGE " 89
lubber, it will be the worse for you when I come athwart
your bows."
' Every creature in the house rose ; the uproar was perfectly
indescribable: peals of laughter, screams of terror, cheers
from his tawny mess-mates in the gallery ; preparatory
scrapings of violins from the orchestra ; and, amidst the
universal din, there stood the unconscious cause of it, sheltering
me, " the poor, distressed, yoimg woman," and breathing
defiance and destruction against my mimic persecutor. It
was impossible to resume the play, so the orchestra played
" God save the King," while the curtain dropped over the
scene, including the chivalric sailor. He was only persuaded
to relinquish his care of me by the illusion being still main-
tained behind the scenes ; the manager pretending to be an
old friend of mine, unexpectedly arrived to rescue me from
all difficulties with a profusion of theatrical bank notes. To
these the generous sailor would fain have added his
own hardly-earned gains ; which being gratefully dechned by
such a newly-made heiress as myself, he made his best sea-
bow to all on the stage, shook hands heartily with me and
the manager, and then quietly went home, under care of some
of the party.'*
Cork in an Uproar was the title of a spectacle presented
here on March 13, 1797, by Astley's equestrian and dramatic
company. The piece was founded on the late invasion of the
French at Bantry Bay. An invasion was also expected at
various seaports in England. The Liverpool merchants re-
solved to defend the town to the utmost. They accordingly
practised gunnery at the fort, imtil they could work, serve,
and manage the guns as well as the most proficient.
On June 12, of 1797, Mrs. Siddons appeared in Jane Shore.
The house was crowded, and the ' galleryites ' seeing the prin-
cipal merchants with their families present, thought it a de-
lightful opportunity of indulging their wit respecting the
' soldiering.' Accordingly, they formed two bands, one on
each side of the gallery, and kept up a cross-dialogue of im-
pertinence, about ' charging guns with brown sugar and
cocoa-nuts,' and ' small arms with cinnamon-powder and nut-
megs,' from the commencement of the play imtil its very end.
* ' Memoirs of Miss Mellon,' Vol. I, pp. 201-3.
90 ANNALS OF THE LIVERPOOIv STAGE
Mrs. Siddons saw that it was useless to act, and went through
the performance in dumb show.*
Astley and his company were here the following year
(1798). It was advertised that the profits of the performance
on March 8, would be applied by Mr. Astley ' in aid of the Bank
Subscription for the defence of this country ; for which, also,
his personal actual service on horse-back will be devoted in
any part of the three kingdoms, whenever it may be necessary
to oppose the enemy.'
After an absence of five years John Philip Kemble made
a welcome reappearance here on June 8, 1798, as Zanga in
The Revenge. The same evening also saw Mr. and Mrs. John
Emery perform in Rosina. Emery possessed those qualities
which indicate the first-rate artist — pathos and humour.
' Never since Emery's death,' says Donaldson, ' has Dandle
Dinmont {Gtiy Mannering), Tyke {The School of Reform), and
Giles [The Miller's Man), been brought out in such bold and
original relief.' Once when playing in The School of Reform a
quaint retort was heard in the scene where Tyke finds the
old man, whose purse he has taken, to be his father, and
exclaims, ' What ! rob my own feyther ! ' ' Yes, you vaga-
bond,' said a sailor in the pit, unable to contain himself
any longer at Tyke's duplicity, ' you'd rob a church ! '
I now come to a very melancholy incident — the death of
John Palmer on Thursday, August 2, 1798. How he came by
his death, and if it occurred just after he uttered those mem-
orable words in The Stranger, ' There is another and a better
world,' has long been a debatable question.
Miss ^lellon, who, according to her biographer, was to
have appeared in the after-piece, The Deserter, on the evening
of August 2, 1798, when the performance was suddenly and
tragically closed, knew the particulars of the sad fatality, f
In her ' Memoirs 't it is stated that ' Mr. Aickin prevailed on
him (Palmer) to perform The Stranger on July I2,§ and the
representation was so fine that, by general desire, he was in-
duced to repeat it. While rehearsing on the morning of
performance, he received an express, relating the sudden death
* ' Memoirs of Miss Mellon,' Vol. I, p. 197.
t Although Miss Mellon was at that time a member of the Theatre Royal company
her name does not appear on the playbill for August 2, 1798.
} Vol.1, pp. 217-9-
^ This is a mistake for July 26.
ANNALS OF THE LIX^RPOOL STAGE 91
of his son, a j^outh universally beloved, and of great promise
in point of talent.
' The play, of course, was deferred, for the wretched father
was carried almost senseless from the theatre. It was the
general opinion that, after an interval of some days, he ought
to be roused from his apathy, and perhaps nothing could
excite an actor hke professional exertion. Therefore he was
urged to reappear, and the broken-spirited man made but little
resistance.
' He arrived at the theatre tolerably calm in the evening,
but was silent, as if afraid to trust himself in conversation ;
whilst respect for his misfortunes threw a solemnity over
the generally gay party in the Green Room.
' He went through the play almost mechanically, until
the fourth act, when the Stranger has to refer to his children.
He was dreadfully agitated ; the audience feeling too deeply
even to encourage him ; finally, in uttering the well-known
w^ords, " There is another and a better world," he expired —
a case, if ever there was one, of a broken heart. It \\'ill be
noticed that Miss Mellon's biographer states that it was in
the fourth act Palmer expired. According to my printed copy
of the play the lines mentioned do not occur in that act but
only in the first and third acts.
' Billinge's Li%-erpool Advertiser,' for August 6, 1798 —
four days after Palmer's death — states : ' Mr. Palmer, whilst
he was performing the character of the Stranger, in the play of
that name, suddenly fell down dead upon the stage in the full
view of the audience. Medical assistance was immediately
administered, but it was of no avail, every spark of life was
totally extinguished. Mr. Palmer is generally believed to
have fallen a sacrifice to the poignancy of his affliction by the
loss of a darling son, of whose death he received intelligence
only a few days since. In the course of the performance his
frame was observed to be agitated with a general tremor, and
his eyes to overflow with tears. In the fourth act of the play
the Stranger relates his woes to his friend Baron Steinfort.
In this stage of the perfonnance 'Mr. Palmer's manner was
amazingly impressive, his agitation visibly increased, and at
the mention of his wife and children, he staggered, and fell
backward a Ufeless corpse upon the stage. He has left eight
orphan children to bewail his loss.'
92 ANNALS OF THE LIVERPOOL STAGE
' Gore's General Advertiser,' for August 9, 1798 — seven
days after Palmer's death — says : ' In the fourth act Baron
Steinfort obtains an interview with the Stranger, whom he
discovers to be hii old friend. He prevails upon him to relate
the cause of his seclusion from the world — In this relation the
feelings of Mr. Palmer were visibly much agitated, and at
the moment he mentioned his wife and children, he fell life-
less on the stage One consolation is left for us, which
he so emphatically expressed in the play just before his death,
" There is another and a better world.'"
Last words of a tragic nature are, however, always viewed
with suspicion. The truth of the matter seems to be that the
fourth act had been reached, and that Palmer having replied to
Baron Steinfort's question as to the whereabouts of his children,
but when asked, ' But why did you not keep your children with
you ? The}^ would have amused you in many a weary hour,'
the recollection of his ovvti recent loss was too much for him ;
he turned and tottered, and then fell on the stage, dying in a
few minutes. A fit of apoplexy, doubtless, occasioned his
death, but professional men differed as to the cause of it ;
some asserted that his constitution must have been prone to
apoplexy, and that his life would have been so terminated at
aU events ; while others affirmed the fit to have been occasioned
by the effort of the moment. Doctors Mitchell and Corry
gave it as their opinion that he died of a broken heart.
Hamerton,* Callan, and Mara conveyed the lifeless body
from the stage into the Green Room. 'Medical assistance was
immediately procured ; his veins were opened, but they 5delded
not a single drop of blood ; and ever\' other means of resuscit-
ation was had recourse to \\dthout effect. 'f Mr. Aickin being
too much overcome with grief to announce the melancholy
event to the audience, Incledon came forward, and mustered up
sufficient resolution to communicate the dreadful circumstance.
The house was instantly evacuated in mournful silence. Out-
side in WiUiamson Square the audience formed themselves
into groups and discussed the fatal occurrence until a late hour
• Hamerton was a good Trish comedian. He was bom In Dublin on Jime 28, i759' In
1780 he was at the Royal, Liverpool, under Yoimger and Mattocks. They wanted him as
an apprentice, but he refused, and went on salary for two years. Then he returned to
Dublin. In 1796 he was again at the Liverpool Theatre imder Aickin. In 1798 he was
in Dublin when the theatres closed on accoimt of the Rebellion, so he went to Liverpoo
for the summer. Vide Memoir in ' The Dublin Theatrical Observer,' December 29, 1821
t ' The Gentleman's Magazine, August, 1798.
ANNAI^ OF THE LI\^RPOOI. STAGE 93
next morning. Out of respect to the memory of the deceased
the theatre remained closed for the remainder of the week.
The funeral took place on Monday, August 6, and was
conducted with great ceremony. Mutes on horseback (as
was the custom in those days) preceded the hearse. Then
came Messrs. Aickin, Holman, Whitfield, Incledon, IMattocks,
and Wild. The chief mourners were Mr. Hurst (as the oldest
acquaintance) and a Mr. vStephens, cousin to the deceased.
Then came Major Potts, Captain Snow, Captain Kennedy,
Messrs. Hamerton, Farley, Tomkins, Toms, Emery, Demaria
(the painter). Clinch, Hollingsworth, and the other members
of the Theatre Royal company. The cortege set out for
Walton at eight o'clock in the morning, and reached the
church at half-past nine. Prayers having been read over the
body, it was committed to a grave seven feet deep, dug in
the rock.
On the coffin-plate there was simply inscribed, ' Mr. John
Palmer, aged 53.' ' He was, however,' states the ' Gentle-
man's Magazine,'* ' three or four years older, but there was
no person in Liverpool who correctly knew hi§ age. A stone
is to be placed at the head of the grave with the following
inscription, being the very words he had just spoken in the
character of The Stranger. ' There is another and a better
world.' This, I may mention, was never done, as a recent
visit there plainly revealed. The grave (in which another
interment has since taken place) is surmounted by a plain,
flat stone, part of which is broken right across. Palmer's
name is simply inscribed at the foot of the stone. The grave
I may add, is situated in the western portion of Walton
Churchyard.
' As an actor,' observes the ' Gentleman's Magazine,'
for August, 1798, ' his death is a great loss to the stage, and
therefore to the public. His figure and manner gave import-
ance to many characters, which, in other hands, would have
passed imnoticed. In delivering a prologue, and in the grace-
ful and insinuating way in which he impressed an occasional
address, he was unequalled. A more general performer since
the days, and during the latter part of the days, of the inimil*
able Garrick, the stage has not boasted, and, in the peculiar
* August, 1798.
94 ANNALS OF THE LIVERPOOL STAGE
province in which his talents were adopted, he not only stood
without a competitor, but possessed very great excellence.'
On August 13, 179^, a benefit performance was given at
the Royal in aid of Palmer's children, who in a few months
had lost father, mother, brother, and uncle. The receipts
amounted to £450, including a donation of £50 from the
Countess of Derby.* A monody written for the occasion by
Roscoe, the celebrated poet and historian, was dehvered by
Mr.' Holman. The following is a copy : —
SYeairy sprites, who oft as fancy calls,
Sport 'midst the precincts of these haunted walls ;
Light forms, that float in mirth's tumultuous throng.
And frolic, dance, and revelr>', and song.
Fold your gay wings, repress your wonted fire.
And from your fav'rite feats a while retire.
—And thou, whose powers sublimer thoughts impart.
Queen of the springs that move the human heart,
With change alternate, at whose magic call.
The swelling tides of passion rise or fall ;
Thou too withdraw — for 'midst thy lov'd abode,
With step more stern, a mightier power has trod.
— Here, on this spot, to every eye confest,
Inrob'd with terrors, stood the kingly guest.
— Here, on this spot. Death wav'd th' unerring dart.
And struck his noblest prize — An Honest Heart !
What wond'rous links the human feelings bind ;
How strong the secret sympathies of mind !
As fancy's pictur'd forms around us move,
We hope, or fear, rejoice, detest, or love :
Nor heaves the sigh for selfish woes alone,
Congenial sorrows mingle with our own ;
Hence, as the poet's raptur'd eyeballs roll,
The fond delirium seizes all his soul ;
And, whilst his pulse concordant measures keeps,
■ He smiles in transport, or in anguish weeps.
■^ * The ' Monthly Mirror ' for July, 1799, states ' that on account of Palmer expiring
In the last act of Tke Stringer, the mma^er stopt the whole of the salaries, though he
pocketed the receipts of the night, and those also of the nest night ; and refused to give
up their salaries to the executors, which he stopped from the performers, by their desire,
for that purpose, on the night he advertised to give a free benefit, for the late Mr. Palmer's
distressed family. It is reported, the stipulation for Palmer's performance was a night
free'of all expence whatever, so the manager gained half a week's expences, by only
playing three nights instead of four.'
ANNALS OF THE IvIVERPOOIv STAGE 95
— But, ah ! lamented shade ! not thine to know
The anguish only of imagin'd woe ;
Destin'd o'er life's substantial ills to mourn,
And fond parental ties untimely torn :
Then, whilst thy bosom, labouring with its grief.
From fabled sorrows sought a short relief.
The fancied woes, too true to nature's tone.
Burst the slight barrier, and became thy own,
In mingl'd tides the swelling passions ran,
Absorb'd the actor, and o'erwhelm'd the man I
Martyr of sympathy, more sadly true.
Than ever fancy feign'd, or poet drew !
Say, why by Heav'n's acknowledg'd hand imprest,
Such keen sensations actuate all the breast ?
Why throbs the heart for joys that long have fled ?
Why lingers hope around the silent dead ?
Why spurns the spirit its incumb'ring clay.
And longs to soar to happier realms away ?
Does Heaven unjust the fond desire instil,
To add to mortal woes another ill ?
Is there thro' all the intellectual frame.
No kindred mind that prompts the nightly dream ?
Or in lone musings of rememb' ranee sweet.
Inspires the secret wish — once more to meet ?
— There is — for not by more determin'd laws
The sympathetic steel the magnet draws.
Than the freed spirit acts with strong controul
On its responsive sjmipathies of soul ;
And tells in characters of truth unfurl'd,
— There is another, and a better world.
Yet, whilst we sorrowing tread this earthly ball.
For human woes a human tear may fall.
— Blest be that tear — who gives it, doubly blest,
That heals with balm the orphan's wounded breast ;
Not all that breathes in morning's genial dew,
Revives the parent plant where once it grew.
Yet may those dews with timely nurture aid
The infant flow' rets drooping in the shade ;
Whilst long experienc'd worth, and manners mild
A father's merits— still protect his child.'*
• 'Gore's General Advertiser,' August i6, 1798.
963^1; : ANNALS OF THE LIVERPOOL STAGE
For some time after Palmer's death a place in the Green
Room where the body was laid after being conveyed from the
stage was kno"t\Ti as ' John Palmer's comer.' It is curious to
learn that after his death performers of the Stranger pur-
posely omitted those memorable words in the utterance of
which he is commonly supposed to have breathed his last,
A paragraph in * Gore's Advertiser ' for Thursday, Sep-
tember 20, 1798, says : ' A young man (whose name we under-
stand is Green) appeared for the first time in pubhc last night
at our theatre, in the part of Young Norval. He was re-
ceived with great applause, and acquitted himself in a manner
highly creditable.' The plaj'er referred to was Charles Mayne
Young, one of the brightest ornaments of the English
stage.
Napoleon's threatened invasion of England in 1798 was
responsible for the production at the Royal on September 12
of a one-act musical piece, called The Raft ; or, Both Sides of
the Water, 'with a representation of a French raft.'
About December, 1798, vSam.uel William Ryle}^ of
' Itinerant ' fame, was in negotiation with Mr. Aickin
to take the theatre for a period of five weeks at
a rental of ^^150, for which he was to have the use
of the wardrobe, books, and music. One hundred
pounds were to be paid down ; but at that time
Ryley did not possess one hundred pence. Singularly and
luckily enough, however, a casual acquaintance agreed to
become his bond. Consequently the theatre passed tempor-
arily into Ryley's hands, and was opened on December 17,
1798, with the following company : Messrs. Grant, VaUant, St.
Leger, Meadows, Austin, Cowley, Quinn, Blandford, Pierson,
Smith, Keimedy, King, Stanton, and Briscoe. Mesdames
Ryley, Kennedy, St. Leger, Brown, King, Grant, Freeman,
Meadows, and Miss Meadows. The theatre was opened under
the patronage of Lord Milsington to seventy-five pounds.
That Ryley looked after the comfort of his patrons is
shown by the playbill for December 26, which records that
* This theatre is well-aired by Stoves in different parts of the
House,' and on December 31, ' Six additional Stoves have been
procured, in which good Fires will be constantly kept up, in
the Box-lobbies, and other par+s of the House during the per-
formance.'
ANNAI.S OF THE LIVBRPOOI. STAGE 97
' During the season,' says Ryley in his ' Itinerant,'* * I
received a variety of whimsical applications from theatrical
candidates, amongst the rest, a lady waited upon me whose
hair was silver'd by the hand of time, and whose mouth dis-
play'd evident marks of decay. She had fixed her mind upon
the stage as affording a pleasant, easy, and genteel Uvelihood —
a certain resource against the calamities of indigence — and
had not the smallest doubt of success, particularly ia senti-
mental young ladies
' I endeavoured with all the eloquence I was master of to
paint in true colors the real life of a player. That it \^ias
pleasant in some respects, I readily allowed, as it afforded a
greater opportunity of seeing and knowing the world than
probably any other profession ; the easy life of an actor, I
denied in toto ; a more laborious employment, a greater mental
drudgery than that experienced by itinerant performers, I
asserted could not well be imagined, where the intellect is, or
ought to be in constant exercise : the generality of the world
see them go through their parts on the stage, with perfect
ease, and apparent pleasure, without giving a thought to the
labor, the study, the intense application necessary to imprint
not only the words on the memory, but the character on the
mind.
' My candour was not much relish'd by this vain old
woman, who I have no doubt, called both my judgment and
poUteness in question, but I invariably discouraged applications
of the kind, even where appearances held forth a probability
of success.
' One young man express'd an ardent desire to make his
appearance as a pantomimic clown ; this was so uncommon
an attachment that I agreed to give him a trial. On his debut
two circumstances occur'd which I beg leave to relate. A
public nuisance in the shape of a box-lobby lounger chose to
disturb the audience with repeated interruptions from the
balcony box over the stage door ; in one of the pantomimic
pursuits this young adventurer, with astonishing activity, ran
up the wainscot, gave the coxcomb a neat slap on the cheek,
and was down again in a moment amidst thundering applause.
But before the pantomime was half finish'd, he fell down a trap
• First edition, Vol. Ill, pp. 357-8.
98 ANNALS OF THE LIV^ERPOOL STAGE
and broke his collar-bone, which for that night put an end to
his mimic career. This yomig man is now well-known by
the name of Bradbury, as the principal clown at the Royal
Circus.'*
Mr. Ryley tells how he was introduced to that worthy
Dr. Samuel Solomon. t 'One evening a glass bottle was wan-
tonly throwTi from the gallery, by which a lady in the pit re-
ceived considerable personal injury, and caused great alarm
through the whole house. I immediately offered a reward
of five guineas for the apprehension of the offender, and
Doctor Solomon, who happened to be in the stage box, in the
most handsome manner promised to double that sum, at the
same time painting the atrocity of the action, and the guilt
of those who endeavoured to screen so atrocious an offender.
This had the desired effect, the culprit was apprehended,
tried at the Quarter Sessions, and sentenced to two years
imprisonment.'
At the conclusion of the season Ryley found himself a
gainer by ;^350. The major part of his best performers were
engaged by Mr. Aickin for the summer season at the Theatre
Royal.
The following account of the Iviverpool Theatre from a
local correspondent, appears in the ' Monthly Mirror,' for
July, 1799 : — ' I have more pleasure in looking into your
mirror, than from any reflection I see in mj' own, or the
veluti in speculum placed in the proscenium of our theatre
as a motto ; for when the curtain rises, nothing is to be
seen but nature disfigured by art, and character disguised
in tarnished tatters of the penurious manager's wardrobe.
The women provide (out of their slender salaries) suitable
dresses, and some few of the men. The * Phoenix ' paper used
to give just critiques on public exhibitions ; but now, like the
rest of the papers, it has degenerated to be the vehicle of
managerial puffs.
' The theatre opened the 3rd of Jime, with a company
much above mediocrity. The only strangers to the London
stage, I beheve, are a Mr. Grant, and a Mr. and Mrs. Ledger ;
the former is by very few excelled in any line of acting, and
• This was Robert Bradbury, who afterwards became Grimaldi's great rival. Dimng
the period Ryley had the Theatre Royal, Bradbury played clown in Harlequin in the
Moon on January 9, 1799, and sixteen days later clown in Harlequin Sailor,
t His name is perpetuated locally in Solomon Street.
ANNALS OF THE I.IVERPOOI. STAGE 99
is of so accommodating a disposition, that he would undertake
any subordinate part, rather than that a play should not be
got up.
' Mrs. Ledger is a very fine woman, has an expressive
countenance, and a good voice, without art, trick, or mimicry.
Mrs. Chapman, from Covent Garden, was welcomed here with
unbounded applause. She is as much respected for her de-
portment in private life, as for her professional abilities ; yet
these ladies, with the merit of Mrs. Ward, Mr. Young, etc.,
with the reinforcement of the Murrays and Knight,* could not
bring a tolerable house, till Lover's Vows was performed, which
seems extraordinary, for Mr. Ryley last winter, with a very
inferior company, and hacknied plays, had very good houses,
and some overflowing, though the weather was uncommonly
severe ; which indicates that the summer manager is no
favourite, and that good order is much wanted in the front of
the house. The wardrobe is shockingly bad, the scenes want
painting, and are seldom appropriate to the country where the
scene is laid.'
During this summer some of the patrons of the theatre
made themselves very obnoxious. Mr. Aickin stated on his
playbills that he had determined ' to prosecute to the extrem-
ity of the law, every person who throws anything from the
gallery, or in the avenues of the theatre.' He also offered a
reward ' for the apprehension of anyone who may in future so
offend.'
These warnings, however, did not have very much effect,
as one evening late in August, some scoundrel threw a quart
bottle on the stage. It is needless to point out the possible
danger to life of such a missile. At the foot of his play-
bills (August 30), Mr. Aickin announced that ' Two guineas
will be paid on the apprehension of the person who threw the
bottle on the stage last night.'
During the season Messrs. Young, Johnstone, Bannister,
junr., Murray, and Misses IMellon and Leake appeared here.
On August 26, Miss Mellon took her benefit, spoke an address,
and played for the first time Lady Contest in The Wedding
Day. The receipts amounted to £269 8s. 6d. Miss Mellon
lodged at that time with a Mrs. Woodells, 13 School Lane.
• On June 17, 1799, ' little ' Knight, the comedian, made his first appearance on this
stage. He played Young Rapid in A Cure for the Heartache, and Tag in The Spoiled Child,
100 ANNALS OF THE LIVERPOOI. STAGE
A one-act musical piece, entitled The Maid of Liver-
pool ; or, The Royal Tar, was brought forward on October ii.
The principal characters were sustained by Messrs. Young and
Emery, and Mesdames Emery and Second.
The state of the Liverpool Theatre, and the character of
the contemporary' audience, are thus described in the ' Monthly
Mirror ' for October, 1799 : —
' Our manager is accused of a degree of parsimony, little
consistent either with his duty as a caterer for the public, or
with his own interest. The theatre is in a shameful con-
dition ; the box -lobbies disgracefully filthy ; the almost sub-
terranean avenues to the pit are choaked with " a foul and
pestilent congregation of vapours " ; the coverings of the seats
miserably old and tattered ; and the house is throughout so
detestably dirty, neglected and forlorn, that the audiences
are necessarily thinner than if they were accommodated in a
tolerably decent manner. The scenery and decorations, are
also, in general, old, broken, weather-beaten, begrimed with
oil, etc. As a proof of the disgusting state of the house,
suffice it to mention, that, at the late festival of music held
here, which attracted a great concourse of fashionable company,
a ridotto-hdW was intended to have been given at the theatre ;
but, upon inspection by the committee, the place was found
so uncomfortably dirty, damp, and noisome, the floor of the
stage so worn and uneven, that it was judged impossible to
cleanse the Augean stable so as to render it fit for the accom-
modation of the company, whence the design was given up
and the ball was held in the rooms of the Athenaeum.
' Again, the manager is reported to be extremely hard in
his deaHngs with performers ; scarcely even solicitous to secure
a tolerable company, he is not thought to aim at anything
extraordinar\' or brilliant. This I apprehend to be the reason
why Mrs. Siddons, who has performed at many a petty town
in the vicinity, Mr. Kemble, Mr. Holman, etc., have not con-
descended to visit Liverpool this season.
' But our greatest grievance remains to be told, and is,
perhaps, the cause of every other — for according to the aud-
iences so will be the entertainment. More turbulent, indecent,
and tasteless audiences, than have been met with here, have
seldom, I believe, assembled within the precincts of any theatre,
amphitheatre, barn, booth, or stable
ANNALS OF THE LIVERPOOL STAGE loi
' The gallery is composed chiefly of drunken sailors and
their doxies, who come to the playhouse, evidently and pro-
fessedly, for no other purpose than to drink gin and crack nuts,
or some other similar diversion, which purpose is promoted
by the sale of strong liquors, wine, ale, etc., in that part of
the house.
' The pit, too, is often the scene of riot and confusion, of
boxing, and of scolding matches, of brandy-drinking, and of
beer-tippling, and those honest people who come to see and
hear the play, are forced to sit intermingled with Jack Tars,
who are, properly speaking, nor more sober, but rather less
drimk, than their mess-mates in the gallery.
* In the upper side boxes, assemble all the frail sisterhood
of C^-prian notoriety ; and there, the more dashing merchants'
clerks, who pay their evening devoirs to venal beauty, are
loud and licentious, in order to prove their gentility ; and in-
stdting to the unfortunate females, who, notwithstanding their
infamy and vice, are still women, in order to prove their man-
hood and humanity-. In the upper front boxes, indeed, the
best company is generally met with, because it consists of the
middle-clsisses, but those seats are not very desirable, from their
distance from the stage, and the noise in the house which
usually confines the entertainment of that part of the audience
to the mere pantomime of the play.
' In the lower boxes we have sometimes a display of ele-
gance and fashion which is pleasing and interesting, yet the
uncontrolled anarchy of the rest of the house, encourages the
idle and noisy, even here, to indiilge in equally offensive
laughter and uproar.'
On July II, 1800, The Fair Penitent was performed. The
play had ' not been acted these years,' and the part of Calista
was performed by ' a young lady, being her first appearance
on any stage.' The lady referred to was Miss Lavinia Wal-
stein, a niece, it is said, of Kotzebue, the famous German
dramatist.
Miss Walstein's d^but was very successful . She afterwards
played Cora {Pizarro), Mrs. Beverley {The Gamester), Miranda
{The Tempest) , Angela {The Castle Spectre) , and Jane Shore. In
fact, for several years she remained a great favourite with
local and other audiences. Her manner was always studious
and reserved. ' Off the stage,' says Mr. W. J. Lawrence ia
•1^2 ANNALS OF THE UVERPOOL STAGE
an interesting article on ]\Iiss Walstein in the ' Dublin Evening
Herald ' for September 15, 1905, ' she seldom seemed happy,
save when she was with her mother. The two were insepar-
able. In Ireland she was known as " the Hibernian Siddons,"
imtil her star was bedimmed by the advent of the beautiful
Miss O'Neill.' Poverty after\\'ards overtook her, and in Jan-
uar}^ 1833, she breathed her last in dingy lodgings in the
Great City on the Thames. On January 31, an inquest was
held on her body, which had been taken to a neighbouring
hospital for dissection. The house-surgeon of the hospital
said that rigid inquiries had been made as to the deceased
being Miss Walstein, an erstwhile actress, in view of the re-
markable circumstances of the case. And he assured the
jury (his evidence being corroborated by the assistant-
surgeon), that the body was that of a man ! At this juncture
a woman in the court screamed and fell into a faint. After
she had recovered she went into the witness box, and, amidst
a torrent of invective which she showered upon the heads of
the two surgeons, stated that she had formerly been Miss
Walstein's devoted companion, sleeping or waking, at bed
and board. Latterly, however, she had lost all trace of her
poor, dear friend. She also declared that the house-surgeon's
evidence was a pack of lies, with more to the same purpose.
The usual verdict having been recorded in such cases, I drop
the veil upon one of the strangest life histories in the annals of
the stage.
Frederick Reynolds' comedy. Management, was played on
August 4, 1800. Mr. Bannister impersonated Mist, the Man-
ager. The following lines in the comedy are worth noting : —
' My country playhouse, ere I came to town.
Almost knocked up, has been in lots knocked down.
A sturdy farmer bought the walls — ^what then ?
What was a barn will be a barn again ;
Corn on the stage, not mummers, wiU be seen.
And oats be thrashed, where actors should have been.'
The ' Monthly Mirror ' for August, 1800, mentions that
' The parsimony of the manager is still the subject of general
complaint. The following is an extract from one of our letters
MISS WAI.STEIN.
AXXALS OF THE LIVERPOOIv STAGE 103
on the subject : — " The manager would have shewn more grat-
itude for the Hberahty he has experienced in this town if he
had hghted up the stage properly, and the front of the house
with wax, instead of lavishing colours in confused paintings
on the proscenium and boxes. Last season, over the drop
curtain was the motto Veluti in speculum, which appeared to
have been painted on one of the athwart seats of a ferr>'-boat,
and fastened up by a wooden pin at each end. They have
now attempted something like a mirror for the ground, and
the words seem as if written on a dirty looking-glass with the
end of a tallow candle. Speed the Plough has brought crowded
houses ; but a number of the spectators came away with their
clothes terribly besmeared with the tallow that dropped from
the lustres, and their stomachs disordered by the stench of
the train oil in the foot-lights. Wretched parsimony ! the
difference between lighting the front with 130 tallow and the
same number of wax candles, would only be about twelve
shillings." ' Apparently the directors of the theatre took the
hint, as the ' ]\Iirror ' for the following October records the
fact that the house was ' illuminated with wax.'
Encouraged by his previous managerial success at the
Theatre Royal, S. W. Ryley arranged with Mr. Aickin to
rent the theatre from December, 1800, to February, 1801.
The company Ryley got together under his banner included
Messrs. Macready, the elder, Harley, Fullerton, Austin,
Emery, Lee, Battye, Patterson, Waylett, IMontague Talbot,
Roberts, Wilkinson, Welch, Spragg ; Mesdames Beaumont.
Burton, Coats, Emery, Sinnet, Battye, Patterson ; and
Misses ComeUies and Crowshaw. Mrs. Stephen Kemble
came on a starring engagement for a fortnight, for which she
was paid 150 guineas The season, however, was unpro-
ductive, but notwithstanding this, Ryley determined to try
again, and engaged with Aickin to rent the theatre from
December, 1801, to March, 1802.
On August 10, 1801, Mr. Wild, the prompter of the theatre
died, aged fifty-two. He was quite a young man when he
first acted as prompter at the local Drury Lane Theatre.
For several seasons he was prompter at the Covent Garden
Theatre. Early in life he had the misfortune to sustain a
compound fracture to one of his legs. The fracture was of
a remarkable nature, and a metropoHtan surgeon jocosely
104 ANNATE OF THE LIVERPOOL STAGE
told him that if he did not bequeath the Umb to them they
would certainly have his body. This so alarmed Mr. Wild
that he always expressed a desire to be buried in Liverpool,
and for this purpose wished he might die there. He was buried
in Walton Churchyard, close to where John Palmer Ues.
In a letter pubhshed in ' Gore's General Advertiser ' for
November 19, 1801, a correspondent complained of the * old-
fashioned, inconvenient, square-shaped theatre, which was
ever>'where giving away to the elegant circular fonn.' He also
expressed the wish that it might ' be found practicable to
have the comfort of a saloon to the boxes, and other con-
veniences about the entrances and passages of which this
house is now so destitute.' This letter voiced the opinion of
many as to the desirability of ha\'ing a new and more
commodious theatre in the town. During the season 37
benefits took place, and the amount realised was £4,986.
S. W. Ryley commenced his third managerial season at
the Royal in December, 1801. In order to obviate as far as
he could the deficiency of first-rate actors he engaged dancers
of superior eminence. To St. Pierre and Madame St. Amand
he paid ten pounds per week. Dubois and his family had
eleven pounds a week. Dubois himself was a good pantomimist,
but the perforaiances of the family ' proved not to be worth a
shilling.' Richer, the rope-dancer, was engaged for a fort-
night at a salary of one hundred guineas.* The regular com-
pany were Messrs. Chalmers, Crisp, Bannerman, Hurst, Van-
deleur, Knox, Fothergill, Ratcliffe, Leonard, Skerrett, Fowler,
Kelly ; Mesdames Kennedy, Crisp, Vandeleur, Barry, Rat-
cUlIe, Skerrett, and Miss Brown. ' In addition to these,' says
Ryley in his ' Itinerant,'! ' I engaged John Woodruff e Clarke,
on whom I solely depended as a second and support to Mr.
Pope ; he was advertised for lago on the first night, but five
days previous to the opening, I received a letter dated
Birmingham, intimating " he was thus far on his road, but
detained for want of cash, and depended upon me sending
him five pounds" To make short of the story, he
acknowledged the receipt of my answer and pledged himself
to attend the first rehearsal, but from that day to this, I have
• Richer subsequently married the widow of a clergyman who had died extremely rich.
They were livingTn great style at Cheltenham when Grimaldi visited them in 1817. Vide
Boz's ' Memoirs of Grimaldi,' first edition, Vol. II, p. 147
t Vol. Ill, p. 379-91-
ANNATE OF THE I.IVERPOOI. STAGE 105
never heard from John WoodniflFe Clarke, whose non-atten-
dance threw our Uttle state into dreadful confusion, and but
for the indefatigable exertions of a Mr. Bannerman, who
studied the part of lago in a few hours, and other characters
of equal importance, from one play-night to the other, we
must prematurely have closed the theatre, or properly
speaking, never have open'd it at all.'
' The receipts,' he continues, 'were confined to fourteen,
sixteen, and eighteen pounds, out of which ten were due to
Mr. and ]\Irs. Pope, and independent of them, the nightly
expences were never less than forty pounds .... Mr. Quick
now joLa'd us, and as he was only to have a clear benefit, the
risque was trifling, but all would not do; every struggle
proved useless .... To add to the pecuniary misery which
multiphed daily, I was under the necessity of supporting a
comic line in the drama, ill according with my unhappy state
of mind ; to assume a face of mirth, and cause a laugh in others,
whilst my breast was torn in anguish ; to support a character
in A Cure for the Heartache when my own was nearly bursting
with grief, were efforts greatly beyond my powers of mind,
and had a visible effect upon my health. For ten weeks, in
hopes of better times, I struggled against the stream, accu-
mulating nothing but distress ; to add to this, at the begin-
ning of the season, flatter'd with the apparent certainty of
success, I had taken a house, and furnish' d it on credit ; this,
with losses of various kinds, placed me nearly ;^8oo in debt,
without any probable means of hquidation ; /300 of this
was due to Mr. Aickin for rent .... As I sat brooding over
my imfortunate situation, in the foreground of which appear'd
a distinct vision of Lancaster Castle .... I was interrupted by
a letter from Mr. Astley, junior, with an offer of bringing down
St. Clare, the celebrated foreigner, who had made so much
noise in London, by an optical deception, call'd Phantas-
magoria. As this was the reigning folly of the day, I closed
in an instant with his terms .... The evening was finally
fixed for the exhibition, when again the cup was dash'd to
pieces, ere it reached my lips. Astley despatched a long letter
of mutual condolence (saying) " St. Clare had fallen through a
trap and dislocated his collar-bone." ' . . . .
As a matter of fact, St. Clare was an imaginary being,
as Ryley found out for himself on his arrival in London.
io6 ANNALS OF THE LIVERPOOIv STAGE
He saw the individual who called himself St. Clare, and for
the pa3'ment of sixty guineas was initiated into the mysteries
of the magic lardcrn ! * The important secret was nothing
more, except a slight improvement of a transparent medium
placed between the audience and the apparatus, on which the
figures were reflected.' So far Ryley had done his best to
keep faith with the local public, but a foreign name was in-
dispensable to the success of the undertaking.
On his arrival back in Liverpool, after an absence of eight
days, he repaired to the French prison,* in order to find an
individual who would play the role of St. Clare. Ryley says
that he * was fortunate enough to encounter a man whose dis-
charge had been made out that day ; and though but a
rough sailor, clad in the coarsest habiliments, when metamor-
phosed by a handsome suit of black, his hair dressed with a
bag and solitaire, he might have passed for one of the noblesse.
The very little English he was master of, rendered him still
more valuable ; on that account I became his interpreter, and
after leading him forward, previous to the exhibition, inter-
rupted his attempt at apology (which I had previously taught
him) by observing, that as the ingenious foreigner was not
sufficiently master of our language to express himself to the
satisfaction of the audience, I would, with their permission,
become his substitute.' The scheme worked well, and the
Phantasmagoria brought in three hundred pounds.
On Monday, March i, 1802, ' St. Clare ' took a benefit,
when in addition to the tragedy of Macbeth and the pantomime
Harlequin's Restoration the beneficiare announced that ' sev-
eral spectres of living and dead characters will be brought for-
ward.' These included : ' the late John Palmer, a well-known
character in Liverpool ; Robespierre ; the Devil ; "Sir. Cooke,
a late well-known and much esteemed medical character in
Manchester.' The season terminated with ' St. Clare's ' benefit,
which brought £120, and Ryley found himself in a large well-
furnished house, without any means of livelihood, and nearly
/500 in, debt.
The following entry appears in the Corporation Records
for January 6, 1802 : —
* Probably the Tower in Water Street, which at that time was used for the incarcer-
ation of prisoners of war.
ANNALS OF THE LIVERPOOL STAGE 107
' The proprietors of the Liverpool Theatre Royal having
signified their intention of enlarging and altering the same
agreeable to the Plans, Sections, &c., now produced and hereby
it appears to be necessary- to permit them to extend their
building somewhat further into Williamson Square than the
present colonnade, but in no part to project more than four
yards beyond the same. Unanimously resolved, that in the
opinion of this Council such alteration will be of pubhc con-
venience and ornament, and that the proprietors be allowed
as far as any authority from this Council may be necessary%
to proceed upon such alterations without further loss of
time.'
Early in May of 1802 it was advertised in the local press
* that the present lease of the premises would expire on Jan-
uary ist next, and that the proprietors are ready to receive
proposals from any person or persons inclined to treat for a
new lease. The theatre is intended to be new modelled and
enlarged.'
Wilham Thomas Lewis and Thomas Knight were selected
by the proprietors out of many applicants. Their lease was
for 14 years at a yearly rental of /i,500. ' Aickin offered /lOO
more than the new managers, but he was so disliked in Liver-
pool that the proprietors deemed it politic to end his regime.'*
June II, 1802 saw Mrs. Billington and Messrs. Young,
Munden, Powell, and Knight here. J\ily 19, Mr. and Mrs.
Henry Siddons in Venice Preserved ; and on September 27,
the celebrated ]\Irs. Jordan came on a visit. She was seen as
Hippolita in She Woii'd and She Wou'd Not, Lady Contest in
The Wedding Day, Lady Racket in Three Weeks after Marriage,
Nell in The Devil to Pay, Lady Teazle, and Rosalind. She
also performed in The Belle's Stratagem and The Country Girl.
This year there were in all 36 benefits, and the total
amount reahsed by them was £5,053. Benefit receipts are
generally a good gauge of an actor's popularity, and I, there-
fore, give a list of the sums reahsed by the principal performers :
Mrs. Billington, £219 ; Mr. Kelly, ;£223 ; :\Irs. Powell, £177 ;
Mr. Knight, £197 ; Mr. Munden, £235 ; Mrs. Siddons, £215 ;
Mr. Simmons, ;^2o6 ; Miss Sims, £2 13 ; Mrs. Ward, £172 ;
Mr. Mattocks, £164 ; ]\Irs. Jordan, ;£240 ; :^Ir. S. W. Ryley,
• ' The Monthly Mirror,' June, 1802.
io8 ANNATE OF THE UVBRPOOI. STAGE
£199 ; Miss Walstein, ^^240 ; Mr. Grant, ;f 192 ; Mr. Rock,
£182 ; and Mr. Hurst, iiyz-
For Mr. Hurst's benefit on November 12, a new tragedy,
entitled Idela, written by Mr. Simeon, junr., of Liverpool, was
produced. Nine days later Charles Mathews, the elder, per-
formed Dan in John Bull to the Mary Thornberry of the beau-
tiful Julia Ann Grimani, eldest daughter of Gaspar, second son
of the Marquis Grimani, a member of one of the very noblest
and proudest houses in Venice.
Wednesday, November 24, 1802, was the last night of
the season, and of acting under this roof. The performance
was for Mr. Young's benefit, and the plays presented were
Boaden's Voice of Nature, The Midnight Hour, and the
iDurletta of Tom Thumb. The receipts amounted to ;£24i.
THE NEW THEATRE ROYAL.
The rebuilding of the theatre commenced in December,
1802, and the new house was ready for opening in Jime of
the following year. The following is a copy of the bill for
the inaugural performance : —
<NEW THEATRE ROYAL
Will Open this present Monday, June 6th, 1803,
when
An Address, in Character,
written by T. Dibdin, Esq.
And to be Spoken by Mr. Knight.
After which their Majesties' Servants
will perform the Comedy of,
SPEED THE PLOUGH.
Sir Philip Blandford, Mr. Grant,
Farmer Ashfield, Mr. Knight,
(by Permission of the Proprietors of Covent-Garden Theatre)
Morrington, Mr. Witton,
(his third Appearance on a public stage)
Sir Abel Handy, Mr. Simmons,
(by Permission of the Proprietors of Covent-Garden Theatre)
Bob Handy, Mr. Young,
■' f^-, l=g^j J^si]
■lii^l
ANNALS OF THE IvIVERPOOIv STAGE 109-
Henry, Mr. Howard,
(his second Appearance on a public stage)
Evergreen, Mr. Ryley, Gerald . . . .Mr. Shaw,
Postillion,.. Mr. Moreton,— Handy's Servant, .. Mr. Howell,
Peter, Mr. Woodward,
Miss Blandford, Mrs. Moimtain,
(by Permission of the Proprietors of Drury Lane Theatre)
In which she will introduce the new Polaca Song and Bravura.
Lady Handy, Mrs. Kennady,
Susan Ashfield, Miss Smith,
(from the Theatre Royal, Bath)
Diana Ashfield, Miss Biggs.
The Dance incidental to the Comedy, by Messrs. Simmons,
Yotmg, Knight, Howard, Moreton, Howell, Woodward, &c,
Mrs. Momitain, Miss Biggs, Mrs. Grant, Mrs. Moreton,
Mrs. Shaw, &c.
To which will be added, a Musical Entertainment, called
NO SONG, NO SUPPER.
Robin, :Mr. Penley, Dorothy, Mrs. Chapman^
(his first Appearance on (her first Appearance here these
this Stage) three Years)
Crop, Mr. Shaw, Louisa, Mrs. Mortimer,
Fredrick, Mr. Byrne, Nelly, Miss Sims,
(from the Theatre- Royal, Margaretta, . . . .Mrs. Mountain,
Dublin) (who is engaged for a short
Endless,. . . .]\Ir. Simmons, time only).
Servant, Mr. Woodward,
The Doors to be opened at Six, and the Curtain to rise
precisely at Seven.
Tickets to be had at the Box-Office, Front of the Theatre,
where Places for the Boxes may be taken from Eleven till
Three o'clock. — Tickets also to be had of Egerton and
William Smith, Navigation Shop, Pool Lane.
Nights of Performing will be [Monday, Wednesday,
Friday, and Saturday.
ttt Miss Edmead from the Theatre Royal, Dublin, will
make her first Appearance on Wednesday next.
^^ Mrs. Glover from the Theatre Royal, Drury Lane,
will shortly make her Appearance in " The Jealous Wife."
no ANNALS OF THE LIVERPOOL STAGE
Messrs. LEWIS & KNIGHT most respectfully submit
to the Liberality and Candor of the Public, the justice of a
small addition to the Prices of Admission : — the considerable
Increase of weekly Disbursements, in consequence of
rebuilding the Theatre ; the great expence of new Scenery,
Decorations, Wardrobe, Furniture, additions to the Band, and
the general Establishment, (so essentially necessary to render
it worthy the Opulence and Spirit of the second Town of
England) encourage the Managers to rely with confidence
on the Support of a generous Public ; — and while they
presume, that for elegance and Accommodation, and for the
true purposes of a Theatre, that of Liverpool is not surpassed
by any in the Kingdom ; they have the honour to assure the
Town that in the Direction of it, no exertion shall be wanting
to support its consequence, and to give general satisfaction.
Boxes, 4s. 6d. . . Upper Boxes, 4s. , . Pit, 3s. . . Gallery, is. 6d.
N.B — These additions to the Prices will be again taken
off when the Engagements of the Auxiliary Performers shall
have ceased ; and during the Winter Season the House will
continue open (under the same Direction) at the Old Prices.
Smiths, Printers, Pool I^ane, Liverpool.'*
The front of the building was (as now) semi-circular, and of
stone and was decorated with the King's arms, and several em-
blematical figures in bas relief. The interior was commodiously
arranged and tastefully ornamented, while the acoustic pro-
perties were admirable. I cull the following account of the
re-opening from the ' Monthly Mirror' for July, 1803 : — ' This
truly elegant theatre opened on Monday, June 6, under the
management of Messrs. Lewis and Knight. We do not hesi-
tate to pronounce it at once the most elegant, commodious,
compact, and chastely proportioned building for the purpose
of theatrical exhibition in the United Kingdom. The shape
of the interior is nearly that of a horse-shoe, the performance
may be very wel seen, and the lowest whisper, if articulate,
distinctly heard. We could wish the proscenium had been
less richly ornamented, for, however beautifully executed,
it does not entirely harmonise with the light, elegant decora-
tions of the other parts of the house. The fronts of the boxes
• Reproduced by kind permission of the Committee of the Athenaeum.
ANNALS OF THE LIVERPOOL STAGE in
are painted with a sort of lattice work silvered, and medallions
beautifully executed. The supporters of the boxes are Hght,
well-proportioned, cast-iron pillars, gilded. There are four-
and-twenty of the handsomest lustres we ever saw ; twelve
of which, somewhat larger than the others, are suspended at
equal distances round the lower tier ; eight round the second
tier, and four above those, round the third or highest tier.
' The very limited time in which all this was effected
(scarcely six months, and commenced in the depth of winter) ,
reflects the highest credit upon the active spirit, skill, and
perseverance of jMr. Foster, the architect, to whose taste and
abihty we are indebted for most of our well-built houses all
over the town. An address, written by Mr. T. Dibdin, com-
paring the theatre to a ship, and carrj'ing on the figure with
neat and appropriate allusions throughout, was delivered with
much spirit by Mr. Knight, whose entrance was greeted with
enthusiastic applause.'
The following is a copy of the address : —
* Well— our tackle's all ready, our hands are all stanch,
And a glorious sight, if you come to the lanch !
We've built, as you see, a snug, tight pleasure-boat.
And we hope that your honors will keep it afloat.
Each cabin's convenient, at least so we plann'd,
We've snug births below, and our tops are well mann'd ;
Our timbers are taught, all our canvass is new.
From London first-rates we've selected our crew.
And each on this deck comes, with free inclination,
To rise in the service, by your approbation.
At least we'll endeavour, in good or bad weather.
To keep all our passengers happy together ;
Tho' with other provisions you find your own table.
We'll keep you in spirits as long as we're able.
W^e've artillery too, care and folly to shoot.
And are arm'd, as these gentlemen tell you, influte. {the
Orchestra) .
We've great guns of tragedy, loaded so well,
If they do but go off, they'll be certain to tell ;
WTiile with small shot of farce, and low comedy swivels,
We've sworn to bum, sink, and destroy the blue devils ;
112 ANNAI.S OF THE I.I\nERPOOI. STAGE
But aim where we will, we shall ever desire,
From your hands a broadside to second our fire.
Should you ask with what freightage our vessel is stor'd,
\Vliat cargo, what riches, we carry on board ?
Look round, you'll see all Briton's value on earth,
True freedom, good nature, wit, beauty, and worth ;
With such lading as this, while our voyage we measure,
Our anchor is hope, and our compass — your pleasure.
{going, returns).
Yet hold — ere I go, you may think it but right,
To know under what sort of colours we fight :
Our vessel is ro3'al — the standard you view,
WTiich can ne'er be pull'd down — while supported by you.'*
' The scenes,' says the ' IMonthly Mirror,'t chiefly painted
byWhitmore, Walmsley, andWilkins, together with the dresses,
&c., are with such elegance and good taste displayed in the
tout ensemble.' Apropos of the scenic artists, the two first
mentioned had graduated in Ireland. UTiitmore was a pupil
of the celebrated Robert Carver, and succeeded him as scene
painter at Covent Garden. He was in the height of his powers
in 1803, so Liverpool at that period saw some good scenery.
At the advanced prices (boxes 4s. 6d. ; upper boxes 4s. ;
pit 3s. ; and gallery is. 6d.), the house would hold nearly £400.
The prices were lowered during the winter season. Messrs.
Lewis and Knight's first season lasted for ten months.
The ' Monthly Mirror ' for August, 1803, says, ' A Cure for
the Heartache introduced Mr. Emery to this audience, in the
part of Frank Oatland ; and Mrs. Glover commenced her
career in the part of The Jealous Wife, a character in which
her reputation is deservedly so high. Mr. Lewis appeared
first in Ranger. He has since played Benedick, Archer,
Copper Captain, and Marplot. He appears in high health
and spirits ; his reception was most flattering. Mr. Cooper,
from Drury Lane, has played Richard twice, and Macbeth once,
on his road to Dublin, with success. A prize bought in here
(French), had on board nearly thirty gentlemen and ladies.
The managers, humanely wishing to soften the rigours of cap-
tivity, politely offered them a free admission to the theatre,
• Troughton's ' Liverpool,' p. 325, t July, 1803.
ANNALS OF THE LIVERPOOIv STAGE 113
which they with joy accepted, and they nightly attend,
escorted, in parties of ten or a dozen. It has been stated in
some of the I,ondon papers that the managers have been obliged
in consequence of the badness of the house, to call in the aid
of Messrs. Fawcett and others ; but this is not the fact, they
have sought for no additional attractions ; their engagements
for the season were made some months ago. Mr. Fawcett
opened July 18, in Goldfinch and Caleb Quotem ; he is to
perform three weeks, and will be succeeded by ^lunden.'
On September 17, 1803, The Man of the World and The
Sultan were played for the benefit of Lady Perrott, who path-
etically annotmced that ' having no other emoluments for her
performances and expenses from London entreats a generous
public, ever ready to alleviate unmerited misfortune, to pat-
ronise the efforts of a mother, struggling for the support of a
large orphan family, the two eldest having already come
forward in the noble cause so dear to every British heart, the
defence of their country. She appeals to the father and the
fond mother for support — who can feel for her situation as to
compel a woman, nobly bom, to such painful efforts.' The
performance realised only £()0.
The Belle's Stratagem was presented on October 20, with
Charles Mayne Young as Doricourt and Miss Grimani as
Letitia Hardy. Apparently this was the first meeting of the
two who were fated to become husband and wife. It was a
sheer case of love at first sight.
Young had made considerable progress in the art of the
stage since his d^but at the Royal in 1798 ; in fact, his pro-
ficiency was so great that for the last two years he had prac-
tically led the business of the stock company at the old theatre,
and was doing the same in tlie new house.
The following extracts are from a letter, dated Liverpool,
October 30, 1803, written by Charles Mathews to his friend
John Litchfield : — ' I opened on the 24th, in Pedrillo (The
Castle of Andalusia), and Sir David Dunder [Ways and Means).
My reception was the warmest, I think, I ever experienced.
WTien I spoke behind the scenes in reply to Femando's call,
the audience applauded, which applause was kept up for some
time after my entrance. This, of course, gave me confidence,
and I played up, and hit them very hard. I introduced the
song of the ''Old Bachelors," which was uproariously encored.
114 AXNAI.S OF THE I.IVERPOOI. STAGE
Sir David was a good card : it has never been played, but by-
Bannister many years ago. It was very well received, and
I repeated it three nights after
* I find one line of Yorkshire worth a length of anything
else. Emery was adored here ; never was anjrthing like the
favour in which he stood with the audience, so I am told. The
Lancashire bears a strong resemblance to the Yorkshire dia-
lect. Young advised me, notwithstanding this, to try them
in that line, which I did, first in Young Testy ; and finding
it likely to take, I played Robin Roughead, in which I hit
them ; and have, in consequence, chosen Dan, in John Bull,
which we play to-morrow night. Job Thornberry, Young ;
Peregrine, Cooper ; Dennis, Hamerton (a good Irishman) ;
Mary, Miss Grimani, who is a great favourite here. I have
seen her in Mrs. Haller and Juliet, and like her much. She
is a better actress than she appeared to be in London. I am
much pleased with Young ; I think he is the best actor I have
seen in the country. In RoUa, Romeo, and the Stranger, I
have greatly admired him ; he is particularly happy in the
latter. His appearance is fine ; and his face admirably
suited to the expression of melancholy.
' The theatre is beautiful ; and holds, at 4s. 6d., 2s. 6d.,
and IS. 6d., nearly ;f400. The prices are now lowered, and
we play to houses of £90 or ;^ioo, which is thought to be bad ;
the pit is usually well attended. They have little opinion of
any actor who has not played in London. Yotmg is the only
exception ; he is a favourite, and is greatly respected in private ;
he has better connections than any actor here, and visits the
first people. I have found him a valuable acquaintance.
There is one thing here which annoys me intolerably. The
clerks decamp at the end of the play to devour veal pies, in
consequence of which when the farce begins half the pit is
deserted, and they come clattering in again with greasy mouths
when the first act is nearly over. They are sometimes a dull
audience, and I have not much respect (from report) of their
judgment. I am told they accuse Munden of copying Sim-
mons— risum teneatis ! I have, however, not much reason
to complain, and expect to be a favourite. The town I like ;
the situation is beautiful. I have ridden seven miles on the
sands ; the sea on one side, the town and harbour on the
other. The opposite Cheshire coast and distant Welsh
ANNAI^ OF THE IvIVKRPOOI, STAOB 115
mountains form altogether a most enchanting prospect. Prince
WilHam is here, and will remain, it is supposed for the winter.
He has bespoken plays three times ; the boxes promise well,
by the by, for John Bull and Love Laughs.'*
While here, Mathews met with a very serious accident.
He had gone to a review, and at the first soimd of fire the horse
upon which he was seated threw him with great violence upon
his head. Prince William of Gloster, who knew Mathews,
immediately descended from his horse, and went to his assist-
ance. ]\Iathews, who was imconscious, was quickly carried
home. This accident produced a brief, but severe illness,
and set up a local complaint of a serious tendency, which dis-
tressed him ever afterwards, but of which he never openly
complained.
Charles Young and Miss Grimani were both friends of Mr.
and Mrs. Charles Mathews. The December of 1803 saw all four
in Liverpool, as they were engaged to perform at the Royal.
On December 26, Paul and Virginia was to have been
brought forward, but owing to an interesting event it was
postponed. This was the birth to Mr. and Mrs. Mathews
of a son. ' I came into the world,' says the yoimger
Mathews,! 'with the pantomimes, in a laughing season, and
my first cry, if it could have been understood, was I have no
doubt : " Here we are ! " The spot selected for my first
appearance was a nice little house in a nice little street, in
Liverpool, contiguous to the theatre where my father and
mother were at that time fulfilling their first provincial pan-
tomime engagement after their first season in London. It
was called then as now, Basnett Street.'
Albeit a number of players used to reside in Basnett
Street when they visited Liverpool, I am of the opinion that
the yoimger Mathews was in error when he said that he was
bom in that thoroughfare. Shortly after his birth his father
and mother advertised that they were to take a benefit at the
Royal on January 25, 1804. ' Gore's General Advertiser,' for
January 19, 1804, mentions that ' tickets could be had of
Mr. Mathews, Leigh Street,' and the playbills announced that
* tickets could be had of Mr. and Mrs. Mathews, No. 8, Leigh
• ' Memoirs of Charles Mathews, Comedian,' by Mrs. Mathews. Second edition, Vol. I,
pp. 419-421.
t ' The I,ife of Charles James ^lathews,' edited by Charles Dickens, Vol. I, p. 3.
ii6 ANNALS OF THE LIVERPOOIv STAGE
Street, Basnett Street.' It is rather unlikely that Mr. and
Mrs. Mathews would change their lodgings in the depth of
winter, when their son and heir was only a few weeks old.
The infant was not baptised in Liverpool, but at St. Helen's
Church, York, where in the month of March, 1803, his father
and mother had been married. The child, according to the
baptismal register of St. Helen's, was christened there in May,
1804, and under the heading of ' Abode ' his parents are re-
ferred to as being ' on their way to London.'
' WTien Charles arrived,' according to his mother's account,
' he was the very smallest and funniest little thing that was
ever seen ; rarely smiled from the first, and seemed perfectly
easy and self-possessed. I had been told to prepare for a
minute baby, and the clothes were, therefore, far below the
average size, but they were so ridiculously large, that they
hung upon him like a sack ; he was, therefore, wrapped in
wadding, and put into a basket by the fire, while his first out-
fit was prepared by cutting up one of his father's soft white
neckcloths, which was tacked together and snipped up the
edges in imitation of ruffles. There he lay on his back in
perfect comfort, with both his tiny hands lifted up as high as
he could, the fingers incessantly wriggling as they peeped out
of the frilled cuffs.'*
Charles IMayne Young was the possessor of a Roman
proboscis, ' and ' says Mrs. Mathews, ' I was constantly jesting
with him about the said nose. When an interesting prospect
was open to me, he said, one day : " Take care ! I warn you,
if you set your mind on this nose of mine, that baby will be
bom with a hook." '
When little Charles was born, ' there, exactly in the right
place, was the most absurd little protuberance, not bigger
than a good-sized pea, and certainly not deserving the name
of nose. Miss Grimani remarked upon this, and when I told
her there was a good story upon that subject, she left me in great
delight to play a trick upon Charles Young. In reply to his
question, " How's Narny ?" (Mrs. Mathews), she gravely said :
"She is going on very well, but she has the most ridiculous
little baby, and, only fancy, with a Roman nose !" "Don't
tell me so !" roared out Young, who went into fits of laughter,
* ' The I,ife of Charles James Mathews,' Vol. I. p. 8-9.
ANNALS OF THE LI\^RPOOL STAGE 117
danced round the room, and told Miss Grimani of the warnings
he had given the mother ; and said he should insist upon seeing
it. When he was allowed, after much preparation, to see the
child, and discovered the hoax that had been played upon him,
he made such a noise in the room that he was turned out bodily
by the nurse.'*
The principal benefit receipts during the 1803 season were
as follows : — Mr. Fawcett, £245 : Mr. Munden, £22,$ ; Mrs.
Glover, £330 ; and Mr. Emery, ;^300. In the after season, the
prices having been reduced, Mr. Young, ;^i62 and ;f2go ;
Miss Grimani, £207 ; and Mr. IMathews, ;^238. Altogether
there were 36 benefits, the total amount of which came to
On Wednesday, October 10, 1804, \^'ilUam Henry West
Betty, the ' Yomig Roscius,' made his first appearance in
Liverpool. He was then in his fourteenth year, and on his
opening night played Young Norval in Douglas. He also
performed during his visit Hamlet, Frederick {Lover^s Vows),
Richard III, Romeo, Osman {Zara), and RoUa [Pizarro).
Here he completely eclipsed his brilliant and unprecedented suc-
cesses at other places in the Kingdom. * When the box office
opened in a morning,' says Merritt.f * the pressure to secure
places was so excessive, that many gentlemen had their clothes
torn to pieces; their hats and shoes carried away in the crowd,
and themselves, sometimes, severely bruised, and almost
suffocated in the attempt. There is reason to believe, that if
the theatre had been twice as large, it would have been equally
thronged. The terms of his engagement were so liberal, that
he received from the managers, for his share of the profits of
fifteen nights, the enormous sum of fifteen hundred and
twenty pounds ; as appears from Mr. Betty's receipt in
Mr. Knight's possession.' Just after Betty's visit Guilty, or
Not Guilty was played to only £20.!
In 1804 it was found expedient to reduce the salaries of the
company. The highest salary was £2 per week. The man-
agement had then two sets of articles, one for the summer
and the other for the winter engagements. They still played
only four nights in the week, with the exception of the race
• ' The Life of Charles James Mathews, Vol. i. p. lo.
t ' Memoirs of the Life of William Henry West Betty,' by J. Merritt (Liverpool, 1804),
second edition, p. 48.
X ' The Theatric Tourist ' (1805), p."53.
ii8 ANNAI^ OF THE LIVERPOOI. STAGE
week when six performances were given. The charges for the
use of the house for the summer benefits amoimted to sixty
guineas, and for the winter fifty-five guineas.
On March 9, 1805, Charles Young and Miss Grimani were
married at St. Anne's Church, Richmond, Liverpool. • The
wedding would have taken place before but for the lady's
anxiety to see her mother established with her eldest son, and
her younger brother and sister placed at school.
Soon after their honeymoon the newly-married pair
accepted an engagement for twelve months at the Manchester
Theatre Royal. In days when their services were not re-
quired at the theatre, they indulged much in short cotmtry
excursions. On one of these happy occasions the two stayed
at Prestwich, and after an hour's walk through the meadows,
they came to the village church.
While Young passed the time in looking at the dates and
ages on the tombstones, his wife stood still, musing with
rivetted gaze on a solitary weeping birch, situated near the
centre of the Churchyard. ' One can fancy it,' Vrites the Rev.
Julian Charles Young in the memoir of his father, Charles
Mayne Young,* ' pensively drooping its tresses over some little
grassy mound, as if in pity for its tiny tenant. The husband,
seeing his wife mute and absorbed, asked her what she was
looking at, and of what she was thinking.
" I was thinking — that I should like to exact a favour of
you — a conditional one."
*' WTiat is it, darling ? "
" You know I'm hoping soon to be a mother ! (a pause).
If it should be God's will I die in giving life to my babe, pro-
mise me, Charles, you will lay me beneath that sweet tree."
' Distressed to find her thoughts running in such a channel,
he gently chid her, and begged her to banish such morbid
apprehension from her mind. Alas ! the shadow of the coming
event must have passed over her spirit at that time ; for a few
brief weeks saw her lying in the ver>' cemetery she had lately
visited, and under the tree of her own choice.'
May 27, 1805, witnessed the return of the 'Young Roscius,'
when he played Young Norv^al in Douglas. The other char-
acters were tmdertaken by Smith, Wheatley (from Plymouth,
♦ ' Memoir of Charles Mayne Young ' (1871), p. 22.
ANN.ILS OF THE IvI\^RPOOI. STAGE 119
his first appearance here), Grant, ]\Irs. Wrench (from Bath), and
Mrs. Fagan (from Weymouth). The after-piece was No Song,
No Supper. Robin by Brown (from Warwick, first appearance
here); Margaretta, Miss Stephens. May 29, Barbarossa and
Catherine and Petruchio. Catherine, Mrs. Young ; Petruchio,
Wheatley. May 30, Betty as Hamlet ; Ophefia, Mrs. Yovmg.
The after-piece was The Padlock. May 31, Master Betty as Fred-
erick in Lover's Vows. Count Cassel, Knight, his first appear-
ance this season. Also The Man of Quality (a poor alteration
of The Relapse). Miss Hoyden, Mrs. Johnson (from Drury Lane,
her first appearance here) ; I,ord Foppington, I\Ir. H. I^ewis.
June 3, young Betty as Earl Osmond in The Castle Spectre
(for the first time on any stage). June 5, Romeo and Juliet.
Romeo, Betty ; Juliet, Mrs. Young ; :\Iercutio, Young. After-
piece The Quaker. June 6, Betty as Zanga in The Revenge.
This was announced as his first appearance in the character,
but a bill in Mr. A. Hunter's collection, which formerly
belonged to the Betty family, shows he played the part at
Londonderry on April 23, 1804. June 10, Betty as Orestes in
The Distrest Mother (first appearance in that character),
Hermione, Mrs. Young. June 14, Betty in name part of
Henry Brooke's tragedy, Gustavus Vasa, his first appearance
in the role, and the first local production of the play. The
play was written in 1739, but its performance was then pro-
hibited by the Lord Chamberlain.
Bann-'ster, Emery, Fawcett, and IMiss Mellon were also
here about this time. On Monday, October 14, the celebrated
Miss Mudie (seven years old) appeared as Widow Cheerly (The
Soldier's Daughter, and Roxalana {The Sultan).
On July 14, 1806 Robert William Elliston made his first
appearance in Liverpool on this stage. He played Duke
Aranza in The Honeymoon. During this visit he was also seen
as Octavian in The Mountaineers, and Felix in The Hunter of
the Alps. This noted player was always a favourite in
Liverpool, both on and off the stage. When the Royal was
to let in 1802, he offered to take it, and his uncle agreed to
become securit}^ for the rent for two years — namely, £3,000 —
but nothing came of it*. The reader will learn with interest
that a grand-daughter of Elliston now resides in Canning
Street in our city.
* Raymond's ' I.ife and Enterprises of Robert William ElHston ' (1857), p. 77.
120 ANNALS OF THB LIVERPOOL vSTAGE
On July 24, 1806, Mrs. Galindo, from the Theatre Royal,
Dublin, made her dehut in Liverpool as Elvira in Pizarro. This
was the actress who subsequently brought a vile and utterly
unsubstantiated charge against Mrs. Siddons. She accused
the great tragedienne of improper intimacy with her husband.
George Frederick Cooke commenced an engagement on
Monday, August 18, 1806, when he played Richard III. Ten
nights later the tragedy was again performed, ' when Mr.
Cooke was so overcome with the beauty of Lady Anne (Miss
S. Norton), that in recovering himself from his kneeling pastime
he made a false step and lost his equilibrium. We are sorry
to add that " Richard was not himself again ; " and that Mr.
Archer (King Henr>-) was obliged to finish the character.'*
One can see from the foregoing that poor George Frederick
was drunk. Perhaps it was at this time (if ever) that Cooke
made that caustic rejoinder about the Liverpool bricks all
being cemented by negro blood. The story is set forth in
Mrs. Mathews' ' Anecdotes of Actors.' f
' Cooke had appeared upon the stage one night while under
the influence of the demon — drink. He was, as in most places,
an immense favourite with the Liverpool audience, who fully
appreciated his vast powers and were entirely disposed to
regard the failings of the man as venial and accidental, while
his intrinsic qualities were solid and positive ; indulgence,
therefore, to his one occasional infirmity was willingly shown.
But there are limits, unhappily, to human charity, and on the
■evening alluded to, Cooke's dark hour o'ershadowed his pro-
fessional and private excellencies ; he was, in fact, incapable
•of proceeding in his performance with bearable propriety,
and public favour was suddenly obscured by pubHc resent-
ment elicited by his disgusting state, and manifested at length
by indications of a pretty general and expressive nature,
'which, dimmed as Cooke's perceptions were by his situation,
and the " potations pottle deep " which he had swallowed,
proved comprehensive enough to his practiced experience,
and stepping forward to the stage lamps, with his powerful
brow contracted with disdain, he addressed his reprovers in
the following pithy sentence : —
" What ! do you hiss me ? — hiss George Frederick Cooke ?'
— ^you contemptible money -getters ! j-ou shall never again
• Liverpool chit chat in ' The Dublin Evening Post,' September 6, 1806.
t Pp. 98-9.
ANNALS OF THE U\^RPOOIv STAGE 121
have the honour of hissing me ! Farewell ! I banish youl"
And concentrating into one vast heap all the maUce of his
offended feelings, he added, after a pause of intense meaning,
*' There is not a brick in your d town, hut what is cemented
by the blood of a negro ! "
' This shameful address was suffered without notice and
the utterer of it was allowed to retire without further mani-
festation of resentment — a moderation speaking volumes in
proof of the good sense and good temper of the Liverpool
pubUc'
In Hawkins' * Life of Edmimd Kean,' it is stated that
Kean used to relate, from his own personal knowledge, the
following anecdote : ' WTien George Frederick Cooke was
playing in Liverpool the managers found great difficulty
in keeping him sober ; but, after repeated transgressions,
he solemnly promised not to offend again during his stay.
In the evening of the day upon which the promise was made,
Cooke was not to be found when wanted for Sir Pertinax
MacSycophant ; the audience grew impatient, the manager
stormed, and all was in "most admired disorder." After a
long search the manager discovered him at a pot-house near
the theatre, where he was drinking with great composure and
perseverance out of a very small gla^s. '' Oh, Mr. Cooke,"
exclaimed the irritated manager, "j'ou have again broken your
solemn promise ; did you not tell me you would give over
drinking ? " Cooke surveyed the manager with the most
provoking coolness, and said, "I certainly did make such a
promise but you cannot expect a man to reform all at once.
I have given over drinking in a great measure'^ and the in-
corrigible player held up the small glass to the manager's nose.'
Apropos of the dictum that actors to put forth their best
efforts must be stimulated by applause, Mr. Bram Stoker in
his * Personal Reminiscences of Henr>' Irving ' * tells a story
of Cooke coming down to the front and saying to our townsmen,
' If you don't applaud I can't act.' If half the stories told
of Cooke's escapades and audacities in Liverpool are true, the
wonder to me is that he ever escaped from the to\^'n with his
life.
Cooke was announced to make his re-appearance as
Richard III, on August 24, 1807, but in consequence of his
• Vol. I., p. 74.
122 ANNALS OF THE I.I\rERPOOIv STAGE
non-arrival Mr. Grant had to perform the part. C. M. Young
commenced an engagement on May 2, 1808, and Mr. and
Mrs. Henry Siddons * appeared during the following June
and July. Then came Elliston for a few nights. George
Frederick Cooke visited the theatre on September 12.
During the season of 1808, Miss Mary Catherine Bolton,
the singer, appeared in Liverpool. Here her youth, beauty,
and musical talents made her very popular. Her return visits
were equall}' successful. In 1813 she married Edward, Lord
Thurlow, a poet of some distinction, and nephew to the first
Lord Thurlow. She died of consumption in i830.t
June of the following j^ear (1809), witnessed Cooke as
Richard III and as Kitely [Every Man in His Humour). Com-
mencing July 10, Mrs. Siddons played for a few nights. Dow-
ton, Emery, and ^Ir. and Mrs. Henry Siddons followed. On
September 18, ]\Irs. Jordan made her first appearance here these
seven years. She played Peggy [The Country Girl), ^liss
Hoyden [A Trip to Scarborough), Widow Belmour [The Way
to Keep Him), and Nell [The Devil to Pay).
On October 18 a new ballet was presented, entitled ' All
Alive at Liverpool ; or, the Wapping Landlady.'
On May 14, 1810, the theatre opened! for the season under
the most inauspicious circumstances, as rioting broke out with
the first performance and continued for a week. The cause
of the disturbance was the question of Half-Price, and as the
lessees, Messrs. Lewis and Knight, would not give way, a cer-
tain number of play-goers took it into their heads to adopt
coercive measures. The rioters not only disturbed the perform-
ances by using flappers, horns, whistles, and other cacophonous
instruments, but they broke all the windows in 'the theatre,
and smashed a large pier-glass, besides doing other damage.
Ultimately the Riot Act had to be read, after which the mob
dispersed.
The riots were doubtless occasioned by those in the
previous year at Covent Garden Theatre, although they were
not precisely of the same order. In London resistance was
• Mrs. Henry Siddons's father, Charles Murray, was educated for a doctor, and became
a siirgeon's mate in the Navy, but resigned, and having gained some applause by a
private performance at Liverpool, made his intention known to Mr. Yoimger, the
manager of the Theatre Royal, of going on the stage. Apparently, Murray made a public
appearance in Liverpool. Younger gave him an introduction to Tate Wilkinson, imder
whom, at York, he made his professional dibiU in 1775.
t Vide • Our Actresses,' Vol. I, p. 158.
t The plays were Pizarro and The Benevolent Tar,
ANNALS OF THE LIVERPOOI. STAGE 123
made to the adoption of a new measure, while here in lyiverpool,
the attempt to compel the adoption of a new measure was
resisted. Local play-goers, however, imdoubtedly laboured
under an old-standing grievance, inasmuch as the question
of Half-Price had frequently been brought before the lessees
of the theatre without avail. It was pointed out to them
that to charge full-price for admission was an inequitable tax
upon those whose business avocations only enabled them to
see half the performance ; and that a certain section of the
community was thus deprived of the rational amusement of
the theatre.
To this the lessees made answer that the one shilling
gallery (which held 1,200 persons) usually contained half
the components of the audience. In the London theatres it was
common for the boxes to be wholly taken, so that often per-
sons were obhged to wait for weeks before they could be accom-
modated. The Half-Price in the metropolis served chiefly
to fill the lobbies. At the Royal, Liverpool, it seldom hap-
pened (except on benefit nights) that a sixth part of the boxes
was taken previous to the commencement of the perfonnance.
The full price for admission to the upper boxes (more accom-
modating than most others, and with a capacity for nearly
400 persons), only exceeded by sixpence the Half-Price to the
same part in London.
The principal rioters, Abraham Lemon, clerk to Lionel
Lemon, timber merchant, Thomas Turner, gentleman^
John Robinson Mohmeaux, broker, Charles Rowlandson, at-
torney, Matthew Carter, merchant's clerk, and Barton Wilson^
coachmaker's apprentice, were indicted for conspiracy
and riot. Several of the defendants were young, Barton
Wilson was only twent5% and John Robinson Molyneaux,
twenty-one. At the Lancaster Assizes, held in September,
1810, before ^Ir. Baron Graham and a special jury, they were
all found guilty of rioting, but not of conspiracy. Sentence
was deferred until the Michaelmas sitting of the Court
of King's Bench. Abraham Lemon was found to be
' eminentty culpable, his crime being increased in an uncom-
mon degree by having published a most violent and improper
paper by way of vindication.' Charles Rowlandson, as an
attorney, was severely censured for being a party to riotous
proceedings. On November 26, the rioters v.-ere sentenced
124 ANNALS OF THE LIVERPOOIv STAGE '1
by Mr. Justice Grose to the following terms of imprison-
ment : — ^Abraham lyemon and Charles Rowlandson to be
confined for twelve months in the Castle of I^ancaster ;
John Robinson Molyneanx and Thomas Turner for three
months ; and Barton Wilson and Matthew Carter for two
months all in the Castle of Lancaster.
The appearance of Mrs. Edwin here on June 25, 18 10,
as Widow Cheerly in The Soldier's Daughter marked her ddhut
■on the local stage. On September 4, The Road to Ruin was
performed for Munden's benefit. Munden sang a new
comic song expressly written for the occasion by J. Pocock
(author of Hit or Miss, Twenty Tears J go, etc.), entitled
^ All Alive at Liverpool.' The music and words were after-
wards published by Messrs. Hime and Son, of Castle and
Church Streets, Liverpool. As the ditty presents an interesting
view of the old town, I feel constrained to give it in extenso'^. —
* Being rather flush of Cash
I resolv'd to cut a dash
So I pack'd up all my Riches,
Coats, Pantaloons, and Breeches
And to Liverpool, e'gad
I set off with Mam and Dad
To see all the Lions in the Town O !
All so prime — nick'd the time
Tumbl'd in — Broke my Shin
Together cram'd — squeez'd and jam'd
Off we dash — What a splash
Father bawl'd — Mother squall'd
Hey down, oh, down derr>', derry down
To see all the Lions in the Town O I
Then thro' the Streets we range
And we see the Grand Exchange
Where Britannia's looking down
So delighted on the Town
And they say if once their Siller
Shou'd raise up her Nelson's Pillar
She'd turn round and drop a Tear to his Mem'ryO !
ANNAIvS OF THE LIVERPOOL STAGE 125
There you'll see — frank and free
Trade and Commerce — not gone from us
Merchants Trading — Bills of Lading
Sugar, Cotton — Fairly gotten
Spite of Boney — Bags of Money !
Hey down, etc.
Oh Liverpool's a wonderful town O !
Then the Papers wou'd you see 'en?
You must visit the Athenaeum
See the Docks in fine condition
And go to the Exhibition
Then on Turtle would you dine
With a glass of good old Wine
Vou'll get the very best in the Globe O
Calipash — cut and slash
Calipee — then you'll see
Green Fat— all that
Lemon juice — white spruce
Good for Lunch — cold Punch I
Hey down etc.
Oh Liverpool's a wonderful town O 1
But what most made me stare
Was to see the Washing Fair
Where the Lads are all so witty
And the Girls are all so Pretty
For in spite of wind and weather
They jump'd in Pell Hell together
And said that they had Physic in the Water O I
Together yok'd — ladies douk'd
Water dashing — kicking, splashing.
Indeed its true — Buff and Blue
Men and Women — all a swimming
Cheek by jowl — upon my soul !
Hey down etc,
Oh Liverpool's a wonderful town O 1
.126 ANNAI.S OF THE IvIVERPOOIy STAGE
For further merriment
To the Play-House next I went
'Twas Joe Munden's Benefit
So I squeezed into the Pit
And there so long he sung out
I thought he'd wear his tongue out
And 'twas all about the Liverpool Lions O 1
Lyceum reading — Turtle Feeding
Tea and Coffee — Cakes and Toffee
Nelson's story — Briton's Glory
House a thtmiper — quite a Bumper
Till at last — the Joke was past
With hey down etc.
Success to the Towti and its Trade O ! '
When Sir Sidney Smith visited the Royal, this verse was
substituted for the fifth verse as originally sung :
' For further merriment
To the Play-House next I went
And there I saw a crowd
Applauding long and loud
The)^ kicked up such a clatter
Says I, pray, what's the matter ?
And they said 'twas for the Hero of Acre O !
Who banged so hearty — Bonaparte
King approves him — Country loves him
Sidney's story — Briton's glory
Then let the rays — of honour blaze
For ever be on — Coeur de Lion.
Hey down etc.
And all such Heroes as these are.'
On January 13, 1811, WiUiam Thomas Lewis, one of the
lessees of the theatre, died at his residence in Westboume Place,
London. Lewis is supposed to have been bom at Ormskirk,
about 1748.* He was of Welsh descent, and was the son of
Wilham Lewis, linen draper, of Tower Hill, London, who quitted
• There Is no entry in the Ormskirk Parish Church roister of William Thomas I<ewls's
baptism there between 1743 and 1753- The house in which he was supposed to have beea
bom is now converted into a shop, and numbered 23, Aughton Street.
ANNAIvS OF THE LIVERPOOL STAGE 127
trade for the stage. Of ' Gentleman ' Lewis it is recorded that
* he blended the gracefulness of Barry with the energy of
Garrick, and superadded to these acquirements his own im-
ceasing activity and amazing rapidity of utterance andmotion.'*
' Billy Lewis,' says Cooke n his ' Memoirs/ ' was the model
for making ever>^one do his duty by kindness and good treat-
ment.' Therefore, the sobriquet of ' Gentleman ' Lewis was
not bestowed without reason. Among his best parts may be
reckoned Belcour, Petruchio, Young Norval, Ranger, Sir
Charles Racket, Millamour, Mercutio, Percy, Marplot, Copper
Captain, Atall, Rover, Squire Groom, Lackland, Faddle,
Vapid, Goldfinch, Tippy, Tom Shuffleton, and Diddler.
In 1811, Messrs. Elrington, Johnstone, Emery, Munden,
Mathews, Edwin, and Dowton were here. Dowton gave
(July i) his celebrated performance of Dr. Cantwell in The
Hypocrite. On July 8, John Philip Kemble played Hamlet.
Power and Mrs. Stirling and Mr. and Mrs. John Tayleure
appeared in The Peasant Boy and The Bee Hive on September 9.
Mr. and Mrs. Tayleure {nee Grant) were married in Liver-
pool. The former, who was a very clever man, was facetiously
called by his waggish companions, ' Six feet two inches of melan-
choly,' His friends never could understand how a very tall
person could be a low comedian. Mrs. Tayleure was the daughter
of an actor. She and her husband afterwards went to London,
but the ' Lancashire Liston ' did not set the Thames on fire.
Perhaps the metropohs did not, or would not, understand
his humour. ' They have been prudent in pecuniary matters,'
writes Mrs. CornweU Baron- Wilson, f * and are independent
of the world and their profession ; although the lady fills
an engagement when a comfortable and sure salaried one
offers : and the gentleman is in business, and has on view,
and on sale, one of the most extensive private collections of
curious old prints, perhaps, in the world. He makes it his
profit as well as his hobby ; for in his museum, on the east
front of St. Martin's Church, he has upwards of 50,000 old
and scarce matters connected with the arts and the drama.'
On November 14, 1811, and the two following nights,
Italian operas were given for the first time on the stage of
the Royal. In consequence of their success the opera company
gave another performance on November 30.
• ' Records of a Stage Veteran.* -f Vide ' Our Actresses,' Vol. II, p. 306.
128 ANNALS OF THE I.I\^RPOOL STAGE
Jack Bannister performed on May i8, 1812, and July-
witnessed John Kemble in Cato (July 6), Julius Casar (July
13), and Macbeth (July 20). On August 24, Listen played
Somno in The Sleep Walker. Jime 28, i8i3,saw Munden as
Sir Anthony Absolute in The Rivals and Crack in The
Turnpike Gate. On September 6 Charles Kemble played
here for the first time. He performed Hamlet to Mrs. Howard
Pa>Tie's Opheha, and was also seen later as Shylock and
Macbeth. Mrs. Charles Kemble also appeared.
In the spring of 18 14 the house was beautified throughout.
The re-opening night was May 16, when Pizarro was presented,
and ^lessrs. VandenhoS and Bass made their first appear-
ance upon this stage, the former playing Rolla. John M.
Vandenhoff was educated at Stonyhurst College, where
his bent for the stage was awakened by a performance
of Oroonoko in the large play-room, or Truck-house, as it was
styled from the ancient game of Truck being played in it.
Vandenhoff was born in 1790, and died in 1861. He was of
Dutch origin. One of his ancestors came over to England
with WilHam of Orange, and was by that Prince allowed to
use armorial bearings, with the crest, a mailed hand and sword,
and the motto ' En Avant.' On May 11, 1808, Vandenhoff
made his first appearance on the stage at the Salisbury
Theatre, as Osmond in The Castle Spectre. After an
apprenticeship of seven or eight years in various provincial
theatres he joined the stock company at the Royal, Liver-
pool, in 1814. Afterwards he was engaged to lead the
business at ;^3 per week. This was ultimately increased
to £$ — an Irishman's rise, as the extra 'money was in
reality, Mrs. Vandenhoff's salary.* In Liverpool he be-
came the idol of all classes, and during a long acquaintance
v/ith the local pubhc he secured their affectionate regard
to such an extent that little children were taught to
remember him in their prayers and say ' Pray, God, bless my
father and mother, sister and brother, and — Mr. Vandenhoff ! 't
On Friday, September 15, 1815, the great Edmund Kean
played here for the first time, opening in Richard III. During
his fortnight's engagement he also played Shylock, Othello,
• Vandenhoff afterwards held a proprietor's shaie in the theatre. This was sold to the
I,iverpool Corporation on May 14, 1881, for £396 13s.
t George Vandenhoff's ' I<eaves from an Actor's Note Book ' (i860), p. 31. _,_
JOHN VANDEXHOFF.
ANNAI^ OF THE LIVERPOOL STAGE 129
and Richard II. While the last mentioned play was being
performed, on Monday, September 25, a false alarm of
fire was given, and in the rush for the doors a young
woman in the gallery named Mary Edge was imfortunately
trampled to death. Sad to relate she had only been a few
hours in the touTi. At the inquest it was stated that a Mr.
G. . . . (the name was suppressed in the published reports),
accompanied by a Mr. Harrison, came to the theatre dressed in
woman's clothes. They were about to be turned out when Mr.
G called out loudly, ' O Ireland, Ireland, Ireland ! '
This, curiously enough, was taken to be a cry of fire ! Kean
deposed that he had known Mr. G since 1814 ; and
that he was brother-in-law to Major-General Ross. After a
verdict of ' accidental death ' had been returned, the managers
of the theatre presented the relatives of the deceased with
twenty pounds.
On July 12, 1816, John Kemble took his farewell of the
Liverpool public in playing Coriolanus. After the fall of
the curtain he came on and said good-bye in the following
graceful manner : — ' Ladies and gentlemen, I have to-night
appeared before you for the last time, and cannot take my
leave without expressing my high sense of the liberal support
that I have always received from you, for which I feel the
strongest sentiments of ' — (here Mr. Kemble's emotion inter-
rupted his speech, and he and the audience appeared equally
affected. Mr. Kemble then proceeded). 'The play we have been
acting this night brings to my mind a circumstance which
I shall ever remember with pleasure, that occurred to me in
an age of years since. It was on this stage that I first adapted
this play of Shakespeare's for representation, and the success
which it met with in the fostering smile of your approbation
encouraged me to persevere in my profession and determined
me to pursue an industrious and methodical study of my art.
I mention this, perhaps, more on account of others than myself,
to remind you that the best method of securing to yourselves
a good stage is to support with your approbation and en-
couragement, the efforts of inexperienced talent. Ladies and
gentlemen, I wish you all a very good night, and every
prosperity and happiness to this town.'*
^ • ' Wverpool Mercury,' July 19, 1816.
130 ANNALS OF THE IvIVERPOOIv STAGE
' An Amurath, an Amurath succeeds ! ' No sooner had the
stately John PhiHp Kemble said farewell when lyiverpool was
honoured by a return visit from Edmund Kean. Next came
the beautiful Miss O'Neill, who charmed all hearts on Sep-
tember 9, as Belvidera in Venice Preserved.
Miss O'Neill was in society what she was on the stage —
gentle, pleasing, and interesting. Mrs. Piozzi, Dr. Johnson's
friend, said that she was 'a charming creature'; and Walter
Donaldson thought her to be ' the only actress with that gen-
uine feeling that is capable of melting her audience to tears.
In her hand the handkerchief is not hoisted as the only signal
of distress. Her pauses are always judicious and impressive ;
her attitudes appropriate and effective, either in regard to ease
or dignity. Her figure is of the finest mould, her features
beautiful, yet full of expression, displaying at once purity of
mind, and loveliness of countenance. Her demeanour is
graceful and modest, her voice melody itself in all its tones.'*
Miss O'Neill was about twenty-five years of age when she
played at the Royal in 1816. She afterwards retired from
the stage, and on December 18, 1819, married William Wrixon
Beecher, who on the death of his uncle succeeded to a very
ancient baronetcy, his wife thus becoming Lady Beecher.
It is pretty generally known that she and her father suggested
the Fotheringay and Captain Costigan to Thackeray. *Miss
O'Neill's father,' says Charles Mathews, ' was the manager
of a small strolling company in Ireland. He was an
eccentric of the first water. If any member of his company
disappointed him, O'Neill had one speech — "Confusion burst
his skull, a blackguard ! What will I do ? Here, give me a
greatcoat, and I'll double his part with my own." The
greatcoat was the universal panacea, whatever the general
costume of the play might be. If the Ghost in Hamlet
complained to Mr. O'Neill of the lack of armour in the
wardrobe, the manager would shrug up his shoulders
and after a pause exclaim, *' Oh, bother ! sure if ye'll put
on a greatcoat ye'll do very well." Matters of much greater
moment he met with the same indifference. Once proceed-
ing by a barge along a small river, the captain and O'Neill
quarrelled, and in the scuffle O'Neill was knocked overboard.
• ' Fifty years of Green Room Gossip."
ANNAIvS OF THE LIVERPOOL STAGE 131
He swam to shore, and called out, " Confusion burst your soul !
I suppose you thought I couldn't swim." A knot of novices
once joined Mr. O'Neill, and having played some time without
receiving their pay, they resolved to take proceedings against
him. He met the charge with a counter-claim against them
for a considerable sum due to him by them for spoiHng all the
plays and farces they appeared in. To avoid the expose they
abandoned the claim.'
On May 26, 1817, Junius Brutus Booth, the tragedian,
commenced an engagement of nine nights in Richard III.
Mrs. Glover was the Lady Anne. Messrs. Harley and Liston
were here in June and July.
On July 17, 1817, the Royal was leased by the trustees
on behalf of the proprietors of the theatre, for a term of nine
years to Messrs. Thomas Knight, Thomas Denison Lewis (son
of W. T. Lewis), and John Banks. Besides providing for the
use of the theatre, the scenery, and properties (all of which
are specifically enumerated), and the dwelling house in
Brythen Street, at a yearly rental of £1,700 (payable
quarterly), the agreement stipulated that the lessees should
' not permit, nor suffer, the present prices of admission
into the theatre to be increased, or reduced, without such
consent as aforesaid ; nor permit, nor suffer, any spirituous
liquors to be sold in any part of the said theatre ; nor suffer
any performers or others to lodge, or sleep in the audience part
of the said theatre ; nor suffer any fruit, or other articles of
refreshment to be sold in the audience part of the theatre
during the time of any performance.'
On July 30, 1817, Joe Grimaldi made his first appearance
here.* He was engaged for three weeks at a salary of £12 per
week, with half a clear benefit, or the whole house for £40, the
latter of which he chose. ' As the night fixed upon for his bene-
fit (which was the last of his engagement) drew nigh,' men-
tions ' Boz' in his 'Memoirs of Grimaldi,' t 'he began anxiously
to deliberate whether he should speculate in the " whole house"
or not. He had no friends or acquaintances in Liverpool to
assist him, but, on the other hand, he had made a tremendous
• ' Boz,' In his ' Memoirs of Grimaldi,' says, that Grimaldi played one night In
Liverpool in 1808. He may have done so, but not at the Royal, as his visit to the patent
theatre on July 30, 18 17, is stated on the bills to have been his first appearance on this
stage.
t Vol. I, pp. 138-41.
132 ANNAI^ OF THE I.IVERPOOI. STAGE
hit ; so, not being able to decide himself, he called in the aid
of his friends, Emery, Blanchard, and Jack Johnstone, who
chanced to be there at the time, and requested their
advice how he should proceed. With one accord they advised
him to venture upon taking the house, which he, adopting their
advice, forthwith did, paying down his ^^40, however, with
many doubts as to the result. He lost no time in making
out his bill, and getting it printed. The play was The RivalSy
in which he acted Acres, and the after-piece the pantomime of
Harlequin's Olio, in which his son was to appear as Flipflap,
a kind of attendant upon Harlequin, and he as a clown. Sev-
eral da5'S elapsed, but nothing betokening a good benefit
presented itself, and Grimaldi began to suspect it would turn
out a complete failure. On the morning of the very day he
had sold only fourteen tickets, and walked to the theatre with
rather downcast spirits. At the box door he met Mr. Banks,
one of the managers, who addressed with him, *' Well, Joe, a
precious benefit you will have ! "
' " So I expect, " he answered with a sigh.
* " Have you looked at the box-book ? " inquired the man-
ager, with a slight degree of surprise in his manner.
' " No," said Grimaldi ; " I really am afraid to do so."
*" Afraid ! " echoed the manager ; " upon my word, Mr.
Grimaldi, I don't know what you would have, or what you are
afraid of. Every seat in the boxes is taken ; and if there had
been more, they would have been let."
'Hastening to the box-office, Grimaldi found that this good
news was perfectly correct. His benefit, which took place
on August 20, produced the greatest receipts ever known in
that theatre : the sum taken was ;^328 14s., being ;^i more
than was received at Miss O'Neill's benefit (who was a wonder-
ful favourite in the town), and beating John Emery's by £5.
He cleared upwards of £280, by following the advice of his
friends ; upon the strength of which they all dined together
next day, and made very merry.'
Conway, the abnormally tall tragedian, made his first
appearance in Liverpool in performing Hamlet on October 6.
Before the re-opening night on May 18, 1818, the
theatre was redecorated, and a splendid new gas chandelier
upon the most approved principles hung from the ceiling of
the auditorium. The principal performers were Messrs.
ANNAI^ OF THE IvIVERPOOIv STAGE 133
Vandenhoff and Bass. On June 15, Miss Waldron was seen
here for the first time. She played Ninette in The Young
Hussar. Seven days later Mrs. Alsop (from Drury Lane)
made, as Donna Violante in The Wonder, her first appearance
here. Mrs. Alsop was the natural daughter of the famous
Mrs. Jordan by the twfamous Richard Daly, the Hbertine man-
ager of the Dublin Theatre, who was responsible for her mother's
downfall. The daughter inherited some of her father's vices,
and a few of her mother's talents. Mrs. Alsop eventually
went to America, where she committed suicide on June 2, 1821.
Mathews played on July 13, 1818, after an absence of
seven years. Grimaldi paid his second visit to the Royal on
July 27. He was again engaged for three weeks, and his profits
amounted to £32y. During his visit he resided at 9, Williamson
Square. On August 19, he took a benefit when his scape-
grace son also performed.
For several years both father and son played together
in various pantomimes ; and it was thought that before young
Joe there was a brilliant future. This, however, was soon
dissipated, as he embarked upon vicious courses, and through
a blow on the head received in some brawl, became a wild
and furious savage. He was frequently attacked with dread-
ful fits of epilepsy, and often committed actions which nothing
but lunacy could prompt. In 1828 he had a decided attack
of insanity, and was confined in a strait waistcoat in his
father's house for some time. From engagements at Drur>'
Lane, Sadler's Wells, the Pavilion, and the Surrey Theatres
in turn, he was dismissed, finally falling into the lowest
state of wretchedness and poverty. His dress had fallen
to rags, his feet were thrust into two worn-out slippers, his
face pale with disease, and squalid with dirt and want, and
he was steeped in degradation. His unhappy life came to
a final close in a public-house in Pitt Street, off the Tottenham
Court Road.
On May 31, 1819, Mrs. Alsop commenced a fortnight's
engagement. During the autumn, Edmund Kean returned
for a fortnight. He was followed by Miss O'Neill.
On February 4, 1820, Thomas Knight, one of the lessees,
died suddenly at his residence, the Manor House, Woore.
Knight was an admirable actor and a worthy man. His great
parts were Jacob Gawkey, Plethora, Count Cassel, and Farmer
134 ANNALS OF THE I.I\rERPOOI. STAGE
Askfield. There is a portrait of him in the Garrick Club,
by Zoffany, as Roger in The Ghost. In the same collection
are portraits of him by De Wilde and Wageman. Tate Wil-
kinson says he retired from the stage on being left a fortune
by his uncle, but did not live long to enjoy his otium cum
dignitate.
Hamlet was played by Charles Mayne Young on May 29,
1820. He had not been seen on this stage for four years,
and was engaged for a fortnight. Others then here were
Messrs. Dowton, Emer>', and Blanchard ; Mrs. Bunn, Miss
M. Tree, Mrs. Glover, and Mrs. Bartley.
Mrs. Bartley was bom in Liverpool on October 23, 1785.
Her mother, Mrs. Williams (an Irish lady), was apparently
acting here at that period. Miss Williams subsequently took
the name of her step-father. Smith, by which she was known
until her marriage with George Bartley in the summer of 1814.
Both were then members of the company at the Royal. She
was Bartley 's second wife. The}' afterwards went to America.*
The great Macready performed here for the first time on
September 11. He was engaged for a fortnight, and during
his visit he appeared as Macbeth, Othello, and Richard III.
Edmund Kean followed. On the last night of Kean's en-
gagement (October 6), he played Othello. On the fall of the
curtain he was loudly called for, and on making his appearance
was received with universal cheering. When the enthusiasm
had subsided he said : ' Ladies and gentlemen, — I do assure you,
most sincerely, that I can scarcely find words in which to
express myself in answer to this ver}-- flattering and unexpected
mark of your approbation and attention. I beg you, however,
to accept of my warmest thanks.
' WTienever I have had the honour of appearing before a
Liverpool audience, I have always been most anxious to exert
myself to the utmost of my humble abihties. I hope, therefore,
that, if ever I have failed in my endeavours, you will attribute
my deficiencies to a want of talent, and not of assiduity.
' But I should not fully do justice to my feelings, if I did
not remark, most respectfully, that in this town I have not ex-
perienced that warmth of approbation, and that alacrity of atten-
tion, with which I have been honoured in other large cities and
towns of the three kingdoms. To those, however, to whom my
• 'Our Actresses,' Vol. I, p. 139.
ANNAI^ OF THE LIVERPOOL STAGE 135
exertions have been acceptable, I am deeply grateful ; and to
those, in whose opinions I have not been so successful, I wish
greater gratification and instruction from other and superior
actors.
' As an Englishman strongly attached to, and proud of,
my country, I look forward with anxiety to that period when
I shall revisit these shores ; but, as a professor, I beg leave,
very respectfully, to bid you farewell.'
Upon this curious effusion the ' Liverpool Mercury '*
offered the following observations : — 'A considerable part of
the audience warmly applauded the speech, while many per-
sons withheld any expression upon it. There is no doubt,
that the Liverpool audience is the most sparing of that en-
couragement which arises from judicious but liberal applause,
of any in the kingdom. There is a coldness in our theatrical
manners, which, whether proper or not, is oppressive to all
performers who have experienced the warmth of more indul-
gent audiences. Kemble, and many others, remarked it :
nay, more recently, Mr. Macready privately complained of it
depressing his spirits, making him fear that he was not at all
approved. If, therefore, Mr. Kean had alluded to it on behalf
of the profession generally, it would have done great credit
to his spirit and his candour ; but he certainly has offended
many friends of the drama, by speaking exclusively of himself,
when it is well-known that he has been, next to Miss O'Neill,
more praised and applauded than any of the recent candidates
for public favour.'
* For this hit,' writes Hawkins in his ' Life of Edmund
Kean,' ' he (Kean) did not go unpunished. Two hours later he
was celebrating his last night, previous to his departure, with
some choice associates, when he intimated his intention to
erect a monument to Cooke as soon as he arrived in New York.
A suggestion was started that an appropriate line or two should
be furnished for an epitaph ; and one of the company present,
wishing to "serve him out" for his rebuke of the unimpres-
sionable audience, immediately wrote something on a piece
of paper and passed it to him with a smile. Kean read out : —
*' Beneathlthis stone Hes Cooke interred.
And with^him Shakespeare's Dick the Third."
• OctDber_i3,3i820.J
136 ANNAIvS OF THE LIVERPOOL STAGE
"Dum lego, assentior," was the tragedian's happy reply.
On October ii, Kean was en route for America, per the
' Matilda,' where he arrived after a quick passage of twenty-
eight days. This was his first transatlantic trip.
On May 29, 1821, there was published, for the first time,
' The Liverpool Theatrical Investigator.' This publication
focussed a revealing search-light on things theatrical, which
had apparently fallen into a parlous state in Liverpool with
the death of Knight. The third number of the publication*
states that ' the Managers had not been at much trouble
in beautifying, or even cleaning, the theatre ; and by this we
are perhaps given to understand, that they are resolved to
persevere in a system of the most rigid economy ; or, at least,
to avoid any very profuse, or lavish expenditure '
The stage properties are described as ' the veriest apologies we
ever saw .... the masks appeared to be pieces of perforated
brown paper. As to the Scenery, excepting an old wreck or
two painted by some artists of celebrity, it is wretched in the ex-
treme. . . . The machinery is equally bad. . . . Nor is it a
little strange, that in the town of Liverpool we have not even a
sufficient number of performers ; and on this account, one per-
son is frequently made to personate two characters in the same
piece. We shotdd not wonder at such a circumstance occur-
ring in a barn ; but what apology can we make for such a thing
being reduced to a matter of course in a Royal Theatre ? '
The ' Investigator ' also comments very severely on the man-
agement in admitting the ' frail fair ' into the theatre. 'There
is,' it says, ' scarcely a part of the house where a tradesman
can take his wife and family, without being in their vicinity —
the pit in particular, which ought, of all other places, to be
kept free from them, is the constant and favourite place of
their resort.'
The issue for June 16, 1821, refers to the dresses as having
been selected, ' for the most part, from the purlieus of Mon-
mouth Street, or Rag Fair ; and after having undergone the
operation of the patent renovator are brought out with a
pompous announcement of " new dresses." In the issue for
June 26, we are informed that ' the orchestra consists of 5
violins ; 2 tenors ; 2 horns ; 2 oboes ; 2 violoncellos ; i double
• May 31, 1821.
ANNALS OF THE LIVERPOOL STAGE 137
bass : total 14 Any persons unacquainted with man-
agerial shifts would wonder how, with this band, an5rthing like
harmony could be produced, there being in the hst, neither
flutes, clarionets, trumpets, or drums ; but we must inform
them that as the managers make their fourth and fifth-rate
actors play many parts in the same play ; so also are their
musicians forced to perform on different instrmnents
For these laborious services, they receive only from one
guinea to thirty shillings per week, with the exception of
their very able leader, who receives, we believe, fifty
shillings. . . . There are, however, some of the musicians in
the orchestra, who would scarcely be tolerated to play jigs
in a country pot-house.'
The ' Investigator ' for July 17, 1821, observes that ' the
theatre pays no government taxes ; nor is it assessed at more
than two-thirds of the rack-rent for the poor rates ; admitting
therefore that it pays all parish taxes, the amount will scarcely
reach ^^400 per annum. The length of the season is generally
more, but never less, than six months ; the theatre must
therefore be open twenty-six weeks at least ; consequently,
the rent and taxes (^^2,100) which is stated at " about £100
per week " amounts to no more than £80 and a fraction per
week.' .... There are, we believe, sixteen male performers,
who are paid from twenty shillings to fifty shillings per week
(fifty shillings is the very highest salary !), their salaries, there-
fore, taken at the utmost, cannot amount to more than ^^28
per week. Ten female performers, say ;^I5 per week. Mus-
icians, or rather mostly apologies for musicians, £i() los.,
per week. Twelve door-keepers, money takers, etc., whose
salaries (box book-keeper into the bargain) will not average
more than i6s. per week, £9 12s. Scene shifters and scene
daubers, £6 per week. Lighting, £8 per week. Printing and
advertising, £8 per week Now, allowing £25 i8s. per
week for the supernumeraries, and incidental expenses, the
weekly expense will amount to £200, or £40 per night.
' The London performers, are generally engaged for a
fortnight ; and to use a managerial expression, " share after
the expenses " ; we will suppose, therefore, in order to put the
matter in a clear point of view, that, at one of these benefits,
there shall be £170 in the house : — 60 guineas, in the first place,
will be deducted for what are called the expenses, to which
138 ANNALS OF THE LIVERPOOL STAGE
may be added a number of items, for extra properties, etc.,
which will, on an average, increase the amount to £yo — there
still remains ;{ioo which is divided between the Managers and
the Star, the latter paying for the extra printing, advertising,
etc. , out of his fifty ; while the managers pocket altogether
£120. Now, if only one benefit took place each week, and the
receipts of the other four nights amounted, in the whole, to
only ;;^8o (£20 per night) it is clear the management could not
lose. But, judging from former seasons, more than one
Star-Benefit occurs weekly, the stock houses have also averaged
much more than ;^20 per night : take, then, into consideration
the native performers' benefits for the last five weeks of the
season, which average to the management more than ;^6o per
night, and some tolerable idea may be formed of the manner
in which ample fortimes have been made, with little trouble
and less genius.'
In 1821 the London theatres, which used to close in June,
were kept open two months longer, consequently, the Liver-
pool managers were deprived of the services of several metro-
politan performers. Vandenhoff was not here this year to
lead the business of the stock company, and his place was
taken by James Salter. The managers also had the services
of Harley, Emery, Miss Clara Fisher, Mrs. Faucit, Mrs. Davison,
Mrs. Btmn, and Mrs. Glover.
On Tuesday, July 10, 1821, James Wallack* appeared
as Rolla in Pizarro. ' This gentleman,' says the ' Liverpool
Theatrical Investigator,' ' visits us as a star, but not, we con-
ceive, of the first magnitude : at all events, his lustre is not
sufficiently refulgent to throw even provincial brightness into
the shade.' Ten days later Wallack was to have performed
Lord Hastings in Rowe's tragedy of Jane Shore, but an
apology had to be made for his non-appearance. Shortness of
notice was alleged to be the cause of his absence. Be this as it
may, Wallack when he ought to have been at the theatre
was engaged with Edmund Kean in the utmost conviv^-
iahty at the Star and Garter, in Paradise Street. Com-
menting on this the ' Investigator ' observes : ' How far
• James Wallack, who was bom in London in 1790, was the son of William Wallack,
a comic singer and comedian. In 1817, James Wallack married the daughter of Jack
Johnstone, the Irish comedian. Lester Wallack was the son of James Wallack. The
latter's sister, Elizabeth, married a Mr. Pincott, and became the mother of Mrs. Alfred
Wigan.
ANNALS OF THE LIVERPOOL STAGE 139
Mr. Wallack can reconcile such conduct with his imperious duty
to the pubhc, we know not ; but we cannot help regarding
the circumstance altogether as one of the grossest insults that
was ever offered to the town of Liverpool.'
On July 27, 1821, Mrs. Glover played Hamlet for her
benefit, and made a very obese young prince. The following Hnes
appeared in the * Theatrical Investigator ' for July 24 : —
' So Friday next is Mrs. Glover's night,
The part of Hamlet, too, by Mrs. Glover —
Query. — Is this a managerial spight ?
For other motive I cannot discover ; —
Unless she means to shew that passions' rage
Cannot be well express'd, unless 'tis felt :
Giving one bright example to the stage —
" Oh ! that this too — too solid flesh would melt." '
Mrs. Glover on the occasion referred to above was sup-
ported by a fat Ghost in the person of Mr. McGibbon. The
' Investigator,' for the day following the performance, says
' that if Mr. McGibbon's Ghost was not awfully appalling, and
indescribably terrific, it was at least ponderously weighty- :
it moved hke a well-rounded mass of sluggish matter, and was
altogether as remote from the purpose, and as ridiculous
as the Hamlet of Mrs. Glover.' Three days later the following
verses were published in the same journal. —
' The managers, their wisdom to evince.
And show how much thereof they have to boast ;
Cast Hamlet — I\Irs. Glover, as the Prince
And sixteen-stone McGibbon for the Ghost.
' When he (the Ghost) , talk'd of the sulphurous flames,
To which at " morning dawn " he must retire ;
vSome ladies near me — I'll not mention names —
Said — " all the fat will then be in the fire ! "
' And when he vanished, leaving Ham alone,
The silence shew'd how little we had lost ;
The laugh — that followed his latest groan —
How glad we were he had given up the ghost.'
140 ANNAIvS OF THE LIVERPOOL STAGE
Mrs. Glover, in the following June, played Hamlet at the
Lyceum in London. Edmund Kean was in one of the stage
boxes, and at the end of the first act came behind the scenes
and shook her, not by one, but by both hands, exclaiming
* Excellent, excellent ! ' ' Away, you flatterer 1 ' replied Mrs.
Glover, ' j^ou come in mocker>' to scorn and scofif at our
solemnity I '
On August 13, ' Jack ' Johnstone the famous Irish com-
edian, played Dennis Brulgrudderj^ in John Bull. This was
annotmced to be his farewell visit to Liverpool, but he had
been taking similar farewells for some time. The ' Investi-
gator ' said that IMr. Johnstone had been a great actor, but
' his day is gone by, and for his own fair fame, he ought to
have retired long ago.'
William Farren came on August 20, when he played Sir
Peter Teazle in The School for Scandal. His appearance did
not give the ' Investigator ' an impressive idea of an
elderly gentleman of the old school, or of Sheridan's Sir Peter
Teazle. ' In fact, there appeared nothing of the gentleman
throughout His acting from beginning to end was
rather a caricature than the genuine sterling character as
drawn by the author.' Praise, however, was given to the
majority of his other impersonations.
On September 3, Macready appeared as Virginius.
* Mr. Macready is, undoubtedly, a very respectable, though
we cannot call him a great actor,' wrote the critic of the ' In-
vestigator.' Four days later Macready was seen in Banim's
fine tragedy of Damon and Pythias, then performed in Liver-
pool for the first time. The eminent tragedian's Damon,
was described as ' a good, but not a great performance.' The
Comedy of Errors was presented on October 16, but the per-
formance was described as ' superlatively contemptible.'
* Yet, after all,' continued the ' Investigator,' ' there was one
redeeming deUght — the sweet, the melting warbling of Miss
Stephens,' who played Adriana. In 1838 this charming
vocalist married the fifth Earl of Essex.
The theatre re-opened on June 3, 1822, with Coriolanus.
According to the ' Investigator,' the seats were newly
covered, the house was repainted, and the tout ensemble was
altogether different to what it was the year before. There was
some new scener>', and some of the old scener>' had been
ANNALS OF THE IvIVERPOOL STAGE 141
repainted ; while the prices of admission had been lowered to : —
boxes, 4s. ; upper boxes, 3s. 6d. ; pit, 2S. ; and gallery, is.
To the great satisfaction of many patrons, Vandenhoff
was re-engaged for leading business in place of James Salter.
When Salter was engaged he was informed that Vandenhoff
would not return to the theatre. In February, 1822, Vanden-
hoff received a letter from Mr. T. D. Lewis, in which he was
asked to resume his former place at the theatre. And this he
agreed to do. Consequently, Salter, although he had given
satisfaction, was dismissed.
On the re-opening night the theatre was in an uproar
owing to the audience being divided into two factions — the
Vandenhoff Guelphs and the Salter Ghibelines. Placards
were exhibited by the friends of Salter inscribed ' Salter
for ever,' etc., and Vandenhoff 's adherents had placards
in their hands of a similar description. Vandenhoff was loudly
cheered on making his appearance on the stage, and Salter
showed himself to his partisans from one of the upper lower
boxes. Much the same thing happened on the second night,
when the partisans of the two actors attended in strong force,
but the excitement slowly simmered down, and in a little while
peace and harmony were restored.
Charles Young paid a welcome return visit on July i.
Others here during the summer were Blanchard, Harley,
Knight, W. Farren, Do\\i:on, Miss Smithson, and Mrs. Faucit.
Miss Smithson charmed local audiences with her Mrs.
Haller and Miss Dorillon. Here her talents procured her
many friends, notably Mr. Arthur He>-wood, the banker.
She eventually went to Paris, and married Berlioz the com-
poser.
On September 17, Mrs. Davison* took her benefit in The
Suspicions Husband and The Miller and His Men. EUiston
was to have appeared as Ranger in the former play, but before
the curtain went up Bass came forward and announced his
non-arrival. He offered the audience their money back, but
everj'body applauded and stopped. The part of Ranger.'was
read by Browne. Subsequently the ' Liverpool Advertiser '
published a letter from Elliston to Mrs. Davison, dated
London, Saturday, September 25, 1822, saying she had full
• Mrs. Davison was formerly Miss Duncan. See memoir of her ia ' Our Actresses,*
Vol. I, p. 167.
142 ANNAI^ OF THE UVERPOOI. STAGE
authority to announce his appearance for her benefit, but
that he was prevented from coming by the business of Drury
Lane preparatory to his opening there. The gross receipts
of ]Mrs. Davison's benefit amounted to £224 3s. ' It is a
well ascertained fact,' says the ' Liverpool Theatrical Investi-
gator,' ' that the real nightly expenses of the Liverpool
Theatre amount to a few shillings less than three-and-twenty
pounds, yet Mrs. Davison was charged in the first instance,
fifty-five pounds to which a number of extra charges were
added. These included : — " Ale, rosin, and toe [sic) is. 6d.,
one full set of fireworks for mill, los., and six men for stage,
and five men for mill and bugle horn, 12s. — total £1 3s. 6d." '
The total expenses amoimted to a trifle lv!ss than £yo.
Commencing October 22, that phenomenal success, Tom
and Jerry was played for a fortnight. This play formed the
subject of a debate by the Liverpool Literary Society in the
Large Room of the York Hotel, Williamson Square, on Nov-
ember 26, Mr. S. W. Ryley being in the chair. On December 6,
Vandenhoff was accorded a benefit. He played Damon
in Damon and Pythias, and in the after-piece of Winning a
Husband, IMiss Rock (a local favourite), portrayed seven
different characters. The benefit brought Vandenhoff a clear
;flOO.
Diddear made his first appearance here on May 26, 1823,
and on June 2, the youthful Clara Fisher performed Richard
III. A little later she played Yoimg Norval.
On August 8, 1825, Maria Foote made her first appear-
ance on this stage, when she played Letitia Hardy in The
Belle's Stratagem. She was born in 1798, and died on Dec-
ember 27, 1867. Her charms and histrionic powers were
celebrated by painters and song writers. Theodore Hook
wrote —
' If aU the world I were to lose,
I'd heed it not a farden.
If only there was left to me
One Foote of Co vent Garden.'
On her retirement from the stage it was pertinently asked
* Will she no more cling so tenderly about Virginus, the living
image of aU that is daughterly and gentle ? Shall we not see
her again bend silently before the accusations of Guido, like
ANNALS OF THE IvIVERPOOL STAGE 143
a fair flower stooping beneath the rough blast, with which
contention would be vain ? Is comedy entirely to lose the
most delicate and graceful of its hand-maidens, and tragedy
the loveliest of its sufferers ? .... In return for those images
of pure and innocent beauty with which she has enriched our
imaginations, we wish her all the good which should attend
one of nature's choicest favourites.' IVIiss Foote retired from
the stage in 1831 preparatory to her marriage with Charles,
the fourth Earl of Harrington.
July 5, 1823, saw Charles Mathews for the first time in
England in a burlesque on Othello. Yates was the lago.
Mathews had played the Moor in this travesty in America.
Others here this season were Mrs. Faucit, Dowton, EHiston,
and Macready. On October 10, Macready played Hamlet
for the first time in Liverpool.
On June 21, 1824, Charles Kemble commenced a fort-
night's engagement.
On August 22, 1825, Kean commenced a short engage-
ment in Richard III. He also played Sir Giles Overreach,
Othello, and Macbeth. Prior to his departure for America he
took a farewell benefit on August 26, when he appeared as
Gloster [Richard III), and Baron Willinghurst [Of Age To-
Morrow). ' On this occasion,' writes Hawkins in his * Life
of Edmund Kean,' ' he played the crook-back tyrant with
unusual brilliance and earnestness ; and in the farce he seemed
so full of animation that had it not been for the touching fare-
well which he pronounced at the close of the performance,
the audience might have gone away with a behef that he had
been in excellent spirits.' At the conclusion of the perform-
ance he said : — ' I should be lost to every feeling of sensibiUty
if I did not most respectfully thank you for this expression
of kindness. At this moment when I am about to leave
my country perhaps for ever — (loud cries of No ! No !) — such
an exhibition of your feelings is of particular value to me.
Driven as I am from England by the machinations of scoun-
drels, by a combination of ruffians who seemed determined
to destroy me, I receive on the eve of my departure, the
highest gratification from what I now see. No absence, no
contumely, no sorrow, — none of the numerous indignities to
which professional men, in all countries are obliged to submit —
win ever efface from my mind the gratitude I feel to my
144 ANNALS OF THE LIVERPOOL STAGE
countrymen.'* The allusions were, of course, to the persecution
he had imdergone after the Cox trial.
One of the rules of the theatre in 1825 was that if any per-
son refused to act a penalty of ;^5 was incurred. Another
rule was that for each night's absence, from sickness or any
other cause, the fine would be £^, but if a performer sent a
doctor's certificate of illness, he only lost his salary during
the period of such illness, but was expected to give notice
when he would be able to play again.
On ]\Ionday, May 29, 1826, Messrs. Raymond and Ham-
mond made their debut on this stage, t The former was from
the Theatre Royal, Glasgow, and the latter from the Theatres
Royal, York and Hull. Rajonond played Frank Hardy in
Paul Pry, and Hammond Figaro in The Barber of Seville.
These gentlemen afterwards figured prominently in Liverpool
as managers. Messrs. Macready, C. Kemble, Dowton, Liston,
Harley, Paul Bedford, Mathews, Yates, and Mackay ; and Miss
Foote and Miss F. H. Kelly were also here during the season.
During the first week in October a clever Dublin boy, Master
Burke, played Doctor Pangloss in The Heir at Law, and Doctor
O'Toole in The Irish Tutor. The following month Ducrow
and his celebrated stud of horses performed.
The season of 1827 was notable for visits from Edmund
Kean, Charles Kemble, IMaria P'oote, ]\Iaria Tree and Mrs.
Waylett. A series of Italian operas was presented in
November. Charles Kean made his first appearance here on
June 24, 1828, when he played Frederick in Lover's Vows.
July saw Miss Foote, and Charles Mayne Young on these
boards. In August there were visits from John Pritt Harley,
Paul Bedford, and Miss Stephens. In September, Mackay
— the celebrated Scottish comedian — appeared in his favourite
character of BaiUie Nichol Jarvie in Rob Roy. On Septem-
ber 29, Madame Vestris made her d^but in Liverpool. She
was engaged for eleven nights. A French company of
comedians followed. On December 22, a benefit perfor-
mance was given for Elton.
• ' Billinge's Advertiser,' Aiigust 30, 1825.
t In 1829 Messrs. Raymond and Hammond opened the Liver Theatre, in Church
Street. In 1836 they dissolved partnership, and Mr. Hammond opened the Strand
Theatre, London, in conjunction with his brother-in-law, Douglas Jerrold. Three years
later Hammond was tempted to take Drury Lane Theatre, but the venture proved
unsuccessful.
ANNAI^ OF THE LIVERPOOL STAGE 145
The ' Liverpool Mercury ' of June 5, 1829, says : ' A new
regulation has been adopted at the box-keeper's office of
our theatre of which the public cannot fail to approve. On
taking places in the boxes a slip of paper is given to the
party, containing the date when the places were taken, the
name of the parties, the number of places, and the number of
the box. This arrangement is well calculated to put an end
to those clamorous altercations and appeals to the box-keeper,
by which an audience is often annoyed, whilst the first act of
the play is proceeding.'
In August, 1829, Edmund Kean was here. ' The house
was crowded each evening of his performance ; and we believe
on no former occasion did his acting ever receive more cordial
marks of approbation.'* Kean was succeeded by Miss Foote,
who commenced a ten nights' engagement on August 10.
On September 12, Madame Malibran-Garcia made her first
appearance in Liverpool. Braham followed. Macready
played in October, and in the following month the Italian
Opera company (which included Signor de Begnis), paid a
welcome return visit. In 1829 the theatres were in a bad way
ail over the country, and no star made any money, except
at Edinburgh, Liverpool, and Dublin. f
On June 16, 1830, Miss Huddart (afterwards Mrs. Warner),
made her first appearance on the local stage. She played
Belvidera to Vandenhoff's Pierre in Venice Preserved. The
new opera of Masaniello was played at the Royal, for the
first time in Liverpool, on July 5, 1830. The scenery was by
William Beverley. The principal dancers were ^Madame Cehne
Celeste (Mrs. Elliot), and her sister Mademoiselle Constance
from the Academic Royale de Musique, Paris. This was
Madame Celeste's English dibut. Her first appearance on
the English stage in a dramatic role was made here on July
22, when she and her sister took a benefit. On that occasion
Celeste, who at that time did not speak English, appeared
in the non-speaking parts of Julio, the deaf and dumb boy in
Deaf and Dumb ; or. The Orphan Protected, and of Julietta, the
dumb girl in The Dumb Girl of Genoa ; or, The Bandit
Mer chant. X
* • The Freeman's Journal ' (Dublin), Augiist 13, 1829.
t ' The Freeman's Journal.'
t Pascoe erroneously states in his ' Dramatic I<ist ' that Celeste first appeared on the
English stage in 1830, at Liverpool, as Fenellain Masaniello. As a matter of fact that
part was played by Miss Huddart.
146 ANNAI^ OF THE LIVERPOOL STAGE
Miss Ellen Tree and her future husband, Charles Kean,
came in July, 1830. August 2, brought Madame Vestris,
and fourteen days later Fanny Kemble made her first appear-
ance here. She was accompanied by her father, the gifted
Charles Kemble. In October Charles Mayne Young took his
farewell of the Liverpool public. On his last night (October
29), he performed the title character in Rienzi ; or, Rome in
the Fourteenth Century.
For the re-opening night on May 30, 183 1, it was announc-
ed that ' the large centre chandelier had been removed, and
an improved plan of lighting the house had been adopted, by
placing twelve new superb chandeliers rovmd the boxes.'
Miss Turpin performed during Jime as Virginia [Paul and
Virginia), and Elvira [M asaniello) . She was the danghter
of two performers favourably known at the Royal, who,
on their retirement from the stage, kept a small tavern
in Liverpool, near the theatre. They gave their daugh-
ter a good musical education, and she having a natural gift
for the stage joined the profession. She was for several
seasons at the Hajonarket, London, and at Covent Garden,
and ultimately became Mrs. Henry Wallack.*
On July 8, Mr. Keeley and Mr. Wallack played in The
Rivals. Madame Vestris and Charles James Mathews were
also here in the same month. Ellar and Paulo, both cele-
brated pantomimists, commenced a week's engagement on
September 5.
Tom Ellar died April 8, 1842, aged 62. Previous to his
death he must have fallen upon evil days,as Thackeray, in 1840,
wrote : ' Tom, who comes bounding home from school, has
the doctor's account in his trunk, and his father goes to sleep
at the pantomime to which he takes him. Pater infelix, you
too, have laughed at clown, and the magic wand of spangled
harleqmn ; what delightful enchantment did it wave round
you in the golden days " when George the Third was king ? "
But our clown lies in his grave ; and our harlequin Ellar,
prince of many of our enchanted islands, was he not at Bow
Street the other day, in his dirty, faded, tattered motley —
seized as a law-breaker for acting at a penny theatre, after
having well-nigh starved in the streets, where nobody would
• ' Our Actresses," Vol. II, p. 308.
ANNAI^ OF THE LIVBRPOOI. STAGE 147
listen to his old guitar ? No one gave a shilling to bless him :
not one of us who owe him so much ! '
Commencing January 9, 1832, Paganini gave the first of
three concerts. Wallack was here in June for ten nights,
previous to his departure for America. On June 18, Mr.
Chippendale played in The Brigand, and on July 16, Fanny
and Charles Kemble came. On Monday, September 17, a
new farce written by Lieutenant John Shipp (Superintendent
of the Liverpool Night Police), entitled The Birth Day ; or,
Hide and Seek, was brought out.* On October i, the Italian
Opera company began its season. // Don Giovanni was
performed on the 8th, for the first time in Liverpool.
July 22, 1833, witnessed the first appearance here of Mrs.
Nisbett, 'of the laugh.' She was engaged for a fortnight.
Mrs. Nisbett, whose maiden name was Louisa ]\Iordaunt, was
bom April i, 1812. She first appeared at Drur>' Lane as the
Widow Cheerly in The Soldier's Daughter on October 16, 1829.
On October 15, 1844, she married Sir William Boothby, who
died April 21, 1846. Her first marriage had taken place
when she was only nineteen years of age ; her husband.
Captain John Alexander Nisbett, of the Life Guards, died
shortly after as the result of an accident.
On August 15, 1833, Taglioni appeared. She was here
for six nights. On September 23, Charles Kean came, and on
the last day of the month Sheridan Knowles commenced an
engagement. Knowles remained a fortnight, and played
in Virginius, As You Like It (Rosalind, ]\Iiss Ellen Tree), and
The Wife. October 25, Charles Kean essayed Hamlet for the
first time at this theatre. Braham played in The Devil's
Bridge on December 2. He was also seen in Artaxerxes, Der
Freischutz, Guy Mannering, Love in a Village, and The Beggar's
Opera. A fortnight later a new play, written by a Liverpool
gentleman, entitled Captain Ross, the Hero of the Arctic
Regions, was produced. This year the rental of the theatre
was reduced to £1,300, and the lessees were given another
seven years' lease.
During 1834 visits were paid by the Italian Opera com-
pany, Wallack, Macready, Charles Kean, Miss Ellen Tree,
* In 1829, I,ieut. Shipp, who had had an extraordinary military career, published
his 'Memoirs' in three volmnes.
148 ANNALS OF THE I.IVBRPOOI. STAGE
Sheridan Knowles, W. Farren, Madame Celeste* Madame
Vestris, and Charles Mathews. In 1835 there came Madame
Vestris, Charles Kean, Charles Kemble, Dowton, Ellen Tree,
Harley, Sheridan Knowles, Mackay, Cooper, and Sinclair.
In 1836 performances were given by the Italian Opera
company, Mr. and Mrs. Yates, Madame Vestris, Charles
Mathews, Miss Helen Faucit, Mr. Brough, and Mr. Keeley.
Of Keeley the following anecdote is told : — ' One mid-
summer day Keeley was standing at the stage door of
the Royal, when a heavy shower of rain fell, and forgetting
their discipline, a flock of ducks disobeyed their driver and
waddled into a pool of water that had been formed opposite
the door. Having lost control of them the driver shouted
to Keeley, ' Oi say, me little man, would ye be afther spakin'
to thim ducks for me ? ' Keeley, who was a bom comedian,
saw the fun of the situation, and immediately replied, ' Oi
will, me man.' Thereupon he knelt down in the rain, and with
a droll expression of face held up his forefinger, and thus ad-
dressed the ducks in tones of rebuke — ' My little fellows, you
are enjoying yourselves, but why don't you do what your master
tells you ? ' Two drakes looked at him with an impudent toss
of the bill and a stare, and boldly cried ' Quack, quack.'
Keeley retaining his mock gravity rejoined — ' Yes, you may
cry " Quack, quack," but if you only knew what lovely weather
it is for green peas you would cry "Quack, quack," in another
way.' t
On October 7, 1836, Charles Kean played in Hamlet, which
was followed by the drama, Gustavus III; or, The Masked
Ball. According to the London custom visitors to the lower
boxes were admitted on the stage in the last act to join in the
masked ball, or as spectators in the galleries erected on the
stage. On December 26, Edwin Forrest made his first ap-
pearance on this stage. He played in Othello, King Lear,
Damon and Pythias, and Virginius.
On the occasion of the re-opening of the theatre on
March 27, 1837, Basil Baker and Harriet Faucit were members
of the company. Miss Faucit was the elder sister of Helen
Faucit, who became Lady Theodore Martin. Miss Faucit
• It was about this time Cdeste first commaiced acting speaking parts !n her quaint
broken English. On October i, 1834, she sailed from Liverpool for New York.
t ' I,iverpool Mercury,' August 19, 1890.
ANNAIvS OF THE LIVERPOOL STAGE 149
married Mr. W. H. Bland in Liverpool, and in 1845 went
with him to America, where she died two year later.
J, B. Buckstone and Mrs. Fitzwilliam made their first
appearance here on May 29. Others here during the season
were Mathews and Vestris, Sheridan Knowles, and the two
Bedfords, Henry and Paul.
April 16, 1838, witnessed the first performance in Liver-
pool of the Lady of Lyons. Helen Faucit played Pauline.
On November 19 Henry Betty, son of the ' Young Roscius,'
performed.
Van Amburgh and his performing animals were here on
April 29 , 1839. Oil ^I^y ^4' Thomas Horsfield was fined ;^3 and
costs, or in default, to undergo six weeks' imprisonment, for
throwing a stone ginger beer bottle from the gallery on to
the head of a gentleman named Closs, who was seated in the
pit. Vestris and Mathews visited the theatre in June.
July 17 saw Taglioni. She was engaged for three nights.
On August 5, James R. Anderson, the tragedian, made in
Romeo and Juliet his first appearance on these boards. On
November 11, George Vandenhoff (son of John Vandenhoff)
made his debut on this stage. He played Leon in Beaumont
and Fletcher's Rtde a Wife and Have a Wife, the part in which
he made his first appearance in London.
Vandenhoff fils was brought up to the law, and prior
to taking to the stage in 1839, had been the solicitor to the
Trustees of the Mersey Docks. He tells us in his interesting
volume* that he plaj^ed for five nights during his first engage-
ment at the Royal, and received £211.
An amusing incident happened to him when here. He
was blessed with a luxuriant crop of light, curly, hair, but in
his aesthetic determination to have his stage wigs set as closely
and naturally as possible, he sacrificed his locks to the razor,
and wore during the day a touph. In Julian St. Pierre he
wore a wig which fitted his shaven crown like wax. To aid
the effect of St. Pierre's entrance and discovery in the fifth
act, he enveloped himself in an ample disguise-cloak, and
covered his head with a large black sombrero. The hat was
quite new, and was very stiff and tight to the head. When he
confronted the Duke, and threw off his cloak and hat in order
• ' IvCaves from an Actor's Note Book ' (i86o), p. 37. I
150 ANNALS OF THE LIVERPOOL STAGE
to reveal himself, the hat brought off the wig with it, and there
he stood with a crown as bald as a billiard ball. The house
remained silent, in fact, not a soul laughed, or testified in any-
way to the ludicrousness of the mischance.
A correspondent wrote to the ' Liverpool Mercury ' of
December 6, and suggested that it would be very convenient
if the manager of the theatre would furnish rails or backs
to the seats in the pit.
George Vandenhoff played Hamlet on February 27, 1840.
Love was performed on March 23, with Ellen Tree as the Count-
ess Epperstein. This play had been played the month pre-
vious (February 28) ' by royal command ' at Covent Garden.
Mr. T. D. Lewis severed his connection as lessee of the theatre
on November 13. On the same evening Ellen Tree appeared
as Pauline in The Lady of Lyons for the first time in any theatre.
Charles Kean portrayed Claude Melnotte.
The Royal re-opened on February 15, 1841, under the
direction of Mr. Robert Clarke, who had previously been acting
manager of the theatre. George Vandenhoff commenced an
engagement on the first of March. Vandenhoff received
■£1^ per week and a clear half-benefit, which brought in ;^90.
On IMarch ig, Elton played Hamlet. Elton (whose real name
was Elt), was lost in the ' Pegasus ' on the passage from Leith
to Hull, July 18, 1843. He was an intelligent and thoroughly
conscientious actor.
In June and July, 1841, George Vandenhoff appeared
with his father and sister in Romeo and Juliet, As You Like It,
Ion, The Wife, Love, The Hunchback, and The Bridals of
Messina. Their joint engagement created considerable in-
terest, and drew good houses. ' My father,' writes George
Vandenhoff, ' I was sorry to see, was very ill at ease in playing
with me, and I felt no less gene with him. He could not get
over his feeling of disappointment at my having adopted the
stage as a profession : this affected his acting, and I saw that it
did : it was continually betraying itself, and destroying his
abstraction, and his self-identification with his character, for
the night. My sister was aware of this too ; and, of course,
she was unpleasantly acted on by her consciousness of it. In
fact, it threw us all off our balance ; and we were very uncom-
fortable all roimd. The audience, of course, knew nothing
of these " secret stings" : to them, the affair was a delight, and
ANNAI.S OF THE LIVERPOOL STAGE 151
to us, in their eyes, a triiimph. They applauded, and called
us, night after night, regarding us as the happiest, most united,
mutually-contented family party ever seen upon any stage.'*
July 12, 1841, saw Mrs. Nisbett and her beautiful sister
Jane Mordaunt here. Seven days later, a series of German
operas were given. Madame Vestris, Charles Mathews, and
Frank ^Mathews were also here in July. Then came the Ital-
ian Opera Company, Ellen Tree, J. R. Anderson, and Mr. and
Mrs. Keeley.
On January 12, 1842, the theatre, scenerv^ and properties,
and the dwelling-house adjoining were leased to ^lessrs. J. H.
Anderson and \V. J. Hammond, for a term of six years at a
yearly rental of £1,500, payable half-yearly. ^Messrs. Ander-
son and Hammond opened the theatre on January 31, when
G. V. Brooke played Hamlet to JuHa Bennett's Ophelia.
Brooke was at that time leading actor at the Royal. He was
then in full possession of his noble voice, and other great
natural gifts. Julia Bennett was in the fresh bloom of youthful
beauty, almost girlish in appearance, and the bean ideal of
feminine softness and delicacy.
On ^larch 28, 1842, A Midsummer Night's Dream was
performed for the first time in Liverpool.
In 1842-3, the great fight between the respective manage-
ments of the Theatre Royal and the Liver Theatre took place.
The Royal, be it noted, was the only theatre sanctioned by law,
and duly licensed by a special Act of Parhament for the repre-
sentation of dramatic performances in Liverpool. All other
estabhshments were only open on sufferance. The Liver, in 1842,
was under the sole management of Mr. Richard ^Malone Ray-
mond, who in conjunction with Mr. W. J. Hammond had had
the theatre for several years. In 1836 Messrs. Raymond and
Hammond dissolved partnership, and while the former still
retained the Liver, IMr. Hammond joined forces with Mr. J.
H. Anderson.
The Act of Parhament referred to above specifically
stated ' that stage representations shall not be suft'ered to take
place within eight miles of any patent or hcensed theatre.'
Therefore, in having pennitted dramatic representations to
take place in his theatre Mr. Ra\Tnond had clearty violated
• ' Leaves from an Actor's Note Book,' p. 119.
152 ANNALS OF THE LIVKRPOOI. STAGE
the rights and privileges of the patent theatre, and these as
we have seen, had only been obtained by the expenditure of
considerable time and money. Accordmg to Messrs. Hammond
and Anderson, Raymond introduced ' established pieces with
new names, and at length barefacedly represented the legiti-
mate drama, acted too, by the manager of, and actors from,
a Royal Patent Theatre of London, evidently for the purpose
of braving the feelings of those whose existence depends upon
the success of the same speculation in which they have en-
tered, and setting at defiance the enactments which from time
to time have been made for the protection of Patent or Licensed
Theatres.' The penalty for producing, or acting in, the legi-
timate drama in imlicensed theatres was ^50 nightly.
Subsequently, sworn information was laid against Mr.
Raymond and he was heavily fined. This case, was primarily,
the cause of the passing of ' The Act for Regulating Theatres '
(1843), whereby the patent theatres lost all their ancient pri-
vileges, save that of being exempt from a yearly renewal of
license to act ; and the legitimate drama could be performed
in any licensed theatre.*
In the latter part of 1842 the theatre was under the
sole management of Mr. W. J. Hammond. Vandenhoff fils
tells us that ' in his (Hammond's) hands the Royal lost its high
prestige as the school in which artists were formed for the
London arena, to which, "in its high and palmy days, "it was the
stepping stone. But its glories were passed, it had fallen from
its high estate. From being next in rank to the metropolis,
and where, as " I have heard my father tell," John Kemble
was wont to say, a tragedy was as well done as in London, it
had, in 1842, sunk to the level of a mere country theatre.
And this fact of the decay of the Liverpool Theatre Royal
was most significant of the general decline of the drama in
England, which has been going on with a facilis descensus
Averni ever since. 'f
The eventful year of 1842 came to a close with a visit from
Mr. and Mrs. Charles Kean [nh Ellen Tree). J The two had
• See also my account of the Liver Theatre.
t ' Leaves from an Actor's Note Book,' p. 120.
X When at the Royal, Manchester, in 1842, Kean was paid by Anderson and Hammond
£20 per night, and given a ' put up ' benefit, while Miss Tree received £10 per night, and
a dear half benefit. The terms given to them in Liverpool were probably the same.
The foregoing particulars are aiUed from a cash account of the Theatre Royal, Man-
chester, during the season 1841-2.
ANXALS OF THE LI\^RPOOIv STAGE 153
only just been married. Kean had previously been a suitor
for the hand of Miss Coutts, afterwards the Baroness Burdett-
Coutts. In Dublin one day, where he and Ellen Tree were
acting, he suddenly entered her rooms and abruptly ex-
claimed, ' EUed (he never could pronoimce the * n '), if you
care to marry me, it must be to-morrow, or never.' It is said
that he was smarting under the fiat rejection he had just received
from Miss Coutts. Miss Tree, however, had long been in
love with him, and they were married privately on January
29, 1842. By a curious coincidence they appeared together
the same evening in The Honeymoon.
On Januar>' 20, 1843, William Hoskins, from the Park
Theatre, New York, made his first appearance here in
playing Othello. Hoskins afterwards went to Sadler's Wells
under Phelps. In the ' Life of Samuel Phelps,' he is
spoken of, I think erroneously, as a light comedian. In 1855 at
the Wells he played Buckingham in King Henry VIII, and Rob
Roy, in neither case a role that would fall to a light comedian's
share. It was Hoskins who first instructed the late Sir Henry
Irving in the art of the stage. These lessons were given at
eight o'clock in the morning, so as not to interfere with Irving's
duties in the counting-house of the Messrs. Thacker, India Mer-
chants, of Newgate Street. Hoskins was attracted by the yoimg
fellow's enthusiasm and conscientious spirit, and introduced
him to Phelps, who in his blunt, good-natured way advised
the stripling to have nothing to do with the stage, as it was a
very bad profession. Irving at that time was about seven-
teen years of age. In the latter part of 1855 , Hoskins emigrated
to Australia, and endeavoured to persuade his beloved pupil
to accompany him. It was a toss-up, but la mere Irving
objected — happily for the future of the English stage.
On Monday, July 24, 1843, the Theatre Royal was opened
by a committee of gentlemen for the benefit of W. J. Ham-
mond. Subsequently the theatre remained closed imtil Tues-
day, December 26, when it was opened by Benjamin Webster
and ^Madame Celeste. The initial attractions were St. Mary's
Eve, The Happy Man, and The World of Dreams ; or, The Man
in the Moon.
' The theatre,' says the local correspondent of ' Oxberry's
Weekly Budget,'* ' has been entirely repainted and renovated
• December 25, 1843.
154 " ANNAI.S OF THE LIVERPOOIy STAGE
throughout, under the superintendence of Mr. G. Morris and
Mr. Ireland, of the Theatre Royal, Haymarket. The medallion
paintings, descriptive of the history of a ship, from the pencil
of Mr. G. Morris. For the comfort of visitors, the seats
of the boxes re-stuffed, and pit, have been covered in damask.
We regret, however, to add that the spirited lessees have thought
proper to reduce the prices, which are now as follows : — Dress
Boxes, 3s. ; Upper Boxes, 2s. ; Pit, is. ; Gallery, 6d. ; all the
evening. This is another knell to the drama, and we fear
a decidedly impolitic step on the part of Webster and his fair
partner. Hitherto the Theatre Royal, lyiverpool, has had
the unpopular distinction of being more opposed to the ex-
tension of the drama, than any house in England, through its
determined hostility to minor theatres, and it would now seem
as if that spirit of opposition, instead of emulation, was meant
to be carried on, even after the legalization of the minors, by
the recent statute. The successful proprietor of the Theatre
Royal, Haymarket, had a right to rely upon the influence of
his name and well-known excellent system of management,
without having recourse to prices lower than many of our
London minors, and which must operate unfavourably upon
the interests of other houses. We think the step decidedly
calculated to produce vmpopularity, and venture to predict
that in a very little time the old prices will be restored.' This
prophecy proved to be sound.
On January 8, 1844, J. B. Buckstone and Mrs. Fitzwrlham
performed in a new drama, entitled Josephine ; or, The Fortune
of War. Aften;v'ards T. P. Cooke played his famous part of
Wilham in Black-Eyed Susan. July 25, saw the first local
performance of The Bohemian Girl. Mr. and Mrs. Charles
Kean were here in November.
On May 13, 1844, the following singular announcement
appeared in the playbills — ' Madame Celeste and Mr. Web-
ster deem it due to themselves to state to the Liverpool Public
that the gross misrepresentations of a silly-bilious critic, in a
certain weekly (query weakly) newspaper, induced them to
cut the Editor and friend off the Free List — and to withdraw
the advertisements, hence the violence of the remarks, which
will give a tolerable notion of the independence of its opinions
in this as in other matters. The only papers that have the
entree and the advertisements, and the respectability and
ANNALS OF THE LIVERPOOI. STAGE 155
circulation of which are undoubted, are the " Mail,"
" Chronicle," " Mercury," " Albion," " Standard," " Adver-
tiser," " Times," and " Courier." '
' A great sensation,' says the local correspondent of
' Oxberry's Weekly Budget,'* ' has been made by Professor
Risley and his son, who made their appearance on Monday
week with the Vandenhoffs.' The Risleys were clever acro-
bats. Madame Vestris and Charles Mathews were here in
March.
This year the townsfolk and the authorities of the Theatre
Royal got at loggerheads over the quality of the entertain-
ments submitted. It was complained that the fare presented
was mostly of the blue-and-red-fire school. Another griev-
ance— tell it not in Gath ! — was the ugliness of the actresses.
The fact of the matter was that Benjamin Webster had dis-
appointed the Liverpool public. He opened with a company
seldom equalled in the provinces, and held out a hope that
the Williamson Square Theatre would become a second Hay-
market. Gradually he drew oflF the cream of his forces to
London, and endeavoured to foist upon his patrons a number
of inferior performers. This affront was resented by our
townspeople, and the consequence was ' empty benches.'
Mr. Webster's two theatres demanded his constant care and
personal attendance, but the polka epidemic (inaugurated by
JuUien) having broken out, he was tempted to neglect his
duties, and went dancing about the country with Madame
Celeste.
The late James Carr of Norton Street in this city used to
recount that during the Webster-Celeste regime, a pantomime
was produced, but the first night audience, would not have
the clown ' at any price.' A substitute had to be found, and
Webster bethought him of Holloway's Sans Pareil Theatre in
Great Charlotte Street. Going there he asked the proprietor
for the loan of a clown. Old Holloway, flattered by the lessee
of the Royal coming to his wooden building, granted the request
forthwith. ' But,' said Webster, ' what will you do for a
clown ? ' ' Oh ! ' replied Holloway, ' all my company can
work in that line.' John Wood was the clown who went
from the Sans Pareil to the Royal. He was a success, and
* Febniary 12, 1844.
156 ANNALS OF THE LIVERPOOL STAGE
when he received his first week's salary he was astonished at
the margin between it and the Holloway remuneration.
Towards the end of 1845 the theatre came mider the direc-
tion of Mr. Mercer H. Simpson, whose son was for long lessee
of the Theatre Royal, Birmingham. Vestris and Mathews
were here in Februarj^ 1846. April 13 brought Creswick
and Helen Faucit as Romeo and JuHet. On the same evening
Henry Farren (son of the second William Farren), made his
first appearance in Liverpool as Nicholas Flam in the piece of
that name. Clever Emmeline Montague was a member of
the company this season. Here she made the acquaintance
of her future husband, Henry Compton, a very popular
comedian. Edward Compton the well-known actor is their
son.
During the Simpson regime James R. Anderson, the trag-
edian, came on a visit. In ' An Actor's Life,'* he tells us
that he ' made arrangements with Mr. Simpson to play four
weeks at the Theatre Ro^'al, Liverpool, he having agreed to
produce Alexander the Great, with new scenery, dresses, and
decorations. I now added The Robbers to my repertory, and
sent Mr. Simpson the MS. and parts, together with sketches
of scenes and costume. Monday, February 16, opened at
Liverpool in Hamlet, it being found impossible to bring out
Alexander for another week. This was a great drawback to
the receipts, as the play had been announced during the past
month, and the old ones were worn threadbare. I ran through
the week with Hamlet, Lady of Lyons, The Stranger, and Othello,
to poor houses. And no wonder, for the company of actors
was wretched, myself included.
' Monday, February 23, Alexander the Great brought a
crowded house, and went off with great enthusiasm. Mr.
Simpson put the tragedy before the public with great splen-
dour. The adjuncts were admirable. Beautiful and elab-
orate scenery was painted by Mr. William Gordon. A magnifi-
cent triumphal car, drawn by twelve Amazonian warriors clad
in ghttering armour, made an imposing entrance for the hero,
shining in a suit of burnished gold, helmet, cuirass, and
greaves, furnished by that great artificer, M. Granger, of
Paris. The applause was loud and long ; but I nearly came
• Pp. 138-9.
ANNALS OF THE LIVERPOOL STAGE 157
to grief in the moment of my triumph. I had arranged to
descend from the car without turning my back on the audience,
and selected four strong soldiers to form a platform with their
Greek shields to bear me down to the footlights : the moment
they felt my weight, one staggered, another collapsed, and as
I imagined they were all going to drop, I leaped to the ground,
" accoutred as I was," when down they went like ninepins in
a skittle alley, amidst shouts of laughter. When the ftm was
over, and the warriors had picked themselves up and joined
the ranks, the public gave me two rounds of applause. Friday,
March 13, was a good Friday for me — a red-letter day. The
resvilt of my fraternisation and labouring with The Robbers
was this night crowTied with success. After many rehearsals
much toil and anxiety, the play was produced for my benefit,
and met with a glorious reception. Nothing could have been
more satisfactory, for it was acted to a crowded house with
general approbation, and as Charles de Moor, I added another
string to my bow.' The Robbers was Anderson's o\vn version
of Schiller's play.
James Rodgers, who afterwards managed the Liver
Theatre in Church Street, once stated to an interviewer,* that
the company engaged by Mr. Simpson at the Liverpool Royal
was one such as would be hard to get together nowadays, and
included more than one young actor who has since made his
mark. Tom Swinburne was there, and Tom Mead
(subsequently of Irving's company) was just commencing
his long and successful career. Creswick and John Coleman,
and Nye Chart, were also of the company, and during
the season I played also with such distinguished actors
as Vandenhoff and his daughter. Miss Vandenhoff, a
great actress, and Miss Fanny Kemble, who played Julia
in The Hunchback as I have never since seen it played. At
the termination of the season the theatre closed, and the
great company disbanded. Some of them asked me to take
a theatre, so as to keep part of the company together, and I
consented. I was barely 23 years old then, but I commenced
my managerial career by engaging the theatre at Newcastle-
under-Lyme. During part of the season G. V. Brooke
came to star with me, as did Miss Cushman, and I was
successful.
• 'The Binningham Daily Mail,' January 26, 1886.
158 ANNALS OF THE LIVERPOOIv STAGE
* Wlien the lease of the Liver, Liverpool, expired I arranged
with Mr. Simpson to open the old Theatre Royal there with him
for a fortnight. Mr. Simpson's object was to introduce Buck-
stone and Mrs. Fitzwilliam in the new farce Box and Cox* which
had just made a great sensation in London, and in which
Buckstone had been specially commanded to perform at
Windsor. The two had previously been playing with Charles
Mathews at the Lyceum. Box and Cox was a very great suc-
cess in Liverpool, and this circumstance is interesting for the
reason that its success caused the very first introduction of
the travelling company system which has since revolutionized
the English theatre. I took the company en bloc to the old
Queen's Theatre, Manchester, and we played there with the
greatest success, and then we began an extensive tour with
Box and Cox and The Green Bushes. This, as far as I know,
was the very first occasion in England of a complete company
travelling from town to town with the same piece.'
Later on Rodgers managed theatres in the Isle of Man, at
Hanley, Coventry, Worcester, Shrewsbury, and in several
Lancashire towns. In 1866 he bought the Prince of Wales
in Birmingham and remained there until his death. He was
a sound comedian. His d^but on the stage was made
circa 1843.
Apropos of Rodgers's reference to Fanny Kemble's per-
formance of Julia in The Hunchback on March 4, 1847, ^^^
was the occasion of her first appearance on the Liverpool stage
since her marriage to Pierce Butler, a southern planter, in
1834. John Coleman, as Rodgers states, was at that time a
member of the company at the Royal, where he had the honour
to form Fanny Kemble's acquaintance.
' At that period,' sa^^s Coleman, f ' the showman's art
had not invaded the profession of a gentleman ; advance
agents, press wire-pullers, and so-called acting managers
were not in existence. Hence it came to pass that Miss
Kemble walked upon the Liverpool stage (where we awaited
her arrival with anxiety and curiosity) alone and unattended.
We had expected to see a Tragedy Queen. We saw instead
a quiet, imassuming lady of middle age and middle height,
simply attired in a black silk dress. Her pale, classic features
• First produced at the Lyceum, I^ondon, November i, 1847.
t ' The Theatre ' Magazine, March, 1893.
ANNALS OF THE LIVERPOOIv STAGE 159
were irradiated by a pair of dark, lustrous eyes, which wore
an eerie expression — imperious one moment, pleading the
next — and which showed forth in vivid contrast to the glorj^
of her abundant hair, even then sUghtly streaked with grey
at the temples. As we simultaneously bared our heads to the
last of the Kembles, she responded to the recognition in one
comprehensive and gracious courtesy, then, introducing her-
self sans ceremonie to the stage manager, commenced the
rehearsal.
' On the occasion of Miss Kemble's reappearance at Liver-
pool she was assisted by Creswick, then in his zenith, as Master
Walter, Robert Roxby as Modus, Nye Chart as Fathom, and
a stripling then in his teens, who shall be nameless here, was
her lover. Sir Thomas Clifford, while ]\Iiss Kathleen FitzwiUiam
was the Helen. The play being at that period a "stock " one,
only one rehearsal was required. We were all so perfect in
the text and "business" that the "star" scarcely called anyone
back. She gave no indications of tragic fire in the morning,
but old Salter, who had often seen her act at Covent Garden,
muttered, " Wait till you see her at night I" When Master
Walter spoke the tag —
" Thou know'st thy peace by finding out its bane,
And ne'er will act from reckless impulse more,"
she said, "A vastly pretty excuse for trying to break this poor
woman's heart I" then with another sweeping curtesy and a
sHvery laugh she bade us " Good morning ! " '
During her visit Fanny Kemble appeared as Mariana
{The Wife), Juliana {The Honeymoon), Lady Macbeth, Mrs.
Beverley, Mrs. Haller, and Queen Katharine.
On March 5 she played Lady Teazle. During the per-
formance a somewhat amusing incident occurred. * Lady
Teazle,' says Coleman, ' was at the wing on the O.P. side
waiting for her cue to go on in the third act. It will be re-
membered that in this situation her ladyship usually makes
her entrance humming an air of the period. I had contrived
to engross her attention by asking her to explain whether Sir
Thomas Chfford was really ruined when he presents himself
as Lord Rochdale's secretary, or whether he was merely "mak-
ing beheve." She rephed that "Even then she did not know.
i6o ANNALS OF THE LR^RPOOL STAGE
She had asked the author the question, but that he himself
was not quite sure, that at her father's request Knowles had
interpolated a line in the last scene to the effect "There has
been masquing here," and that consequently she was under the
impression that — . At this moment the call boy sang out,
"Stage waiting, ma'am." With a laugh she caught up her train
and swept on the stage singing —
" Oh ! Hi I Ho I the boatmen row —
Going down the Ohio ! "
This happened to be the most popular negro melody of the
day, and despite its absurd incongruity it made the hit of the
evening. Roar followed roar till I thought the house woiild
have come down about our ears.'
.On May 3, 1847, the theatre opened under the manage-
ment of Mr. Henry Coleman, with Robert Roxby as the stage
manager. The leading man of the stock company was T. B.
SulHvan, who, subsequently, reached the highest eminence
as Barry Sullivan. His salary in 1847 was £$ per week.
The other members of the stock company at that period were
^lessrs. Artaud, Mortimer, Fitzroy, Willis, Suter, J. W. Ben-
son, James Lunt, W. S. Branson, Mrs. Seyton, Miss Treble,
Miss Murray, and Miss K. Love.
Barry Sullivan made his first appearance at the Royal
on May 3, 1847, as Sir Edward Mortimer in The Iron Chest —
a part he had never studied, and moreover, greatly disliked.
But he did his best with the character, and, as he afterwards
remarked, ' if he had selected the part himself he could not
have made a bigger success.' The ' Mercur>',' of the fol-
lowing day said : ' The acting of Mr. Sullivan as Sir Edward
Mortimer, and of Mr. Fitzroy as Adam Winterton, was
deservedly appreciated.'
Of Sullivan's performance John Coleman, who had
joined Copeland's compan}^ at the Amphitheatre, writes :
' WHiile I was occupied with rehearsal he (SulUvan) came to
renew our acquaintance, and to borrow an indispensable
" property," or, to be precise, to borrow a pair of black silk
tights for Sir Edward Mortimer in The Iron Chest, in which
gloomy play he was about to open. By-the-way, those same
tights that very season did duty to introduce Robert Brough
ANNALS OF THE I.IVERPOOI. STAGE i6i
to the stage as Lampedo in The Honeymoon, after which in-
auspicious event — for poor Bob did not set the Mersey on fire
— they went the way of all — tights. They passed from my
gaze and I saw them no more.
' The gallery was a shilling in those days, and thither I
went with a friend to give the new tragedian "a hand." Sir
Edward Mortimer was no more suited to Sullivan than it was
to John Kemble. Latterly, it has been the fashion to decry
Barry Sullivan as being stilted, formal, and old-fashioned,
but, as I have shown already, in Glasgow he had been pro-
nounced a walking gentleman actor of tragedy, and unques-
tionably his style was too modem and too natural for this
mouthing, supersensitive, hypochondriac. Of late years I
have seen little of Sullivan's acting, but when I knew him at
his best, he was vigorous, vivacious, and versatile. His
Charles Surface, Young Rapid, Petruchio, Benedick, and
Falconbridge were hard to beat ; and his L-ong Tom Coffin,
William in Black-Eyed Susan, Rory O'More, Myles-na-Coppa-
leen, and Shaun-the-Post were performances of unapproach-
able excellence.
' The second performance in Liverpool was Jaffier in
Venice Preserved (May 4). There was a miserable house,
and the good old tragedian who played Pierre was wretchedly
imperfect, while the beautiful, but unfortunate woman who
played Belvidera was worse ; but Sullivan was a tower of
strength in his knowledge of the text, and pulled the play
through to a successful termination. From that moment I
felt convinced he only needed time and opportunity to make
his way — the world itself comes round to him who knows how
to wait, and at length it came round to him.'*
My friend, Mr. \V. J. Lawrence, in his interesting biogra-
phical sketch of Barr>' Sullivan, says : ' When the manage-
ment of the Theatre Royal passed into the hands of Mr. W.
R. Copeland, who also presided over the fortunes of the Amphi-
theatre, Sullivan transferred his services to that sterling man-
ager. Acting principally at the Amphitheatre his reputation
and popularity in Liverpool grew apace ; so much so that Cope-
land before his death made him promise that whenever he
revisited his old friends he would never play at any other house
* ' The Theatre,' June, 1891.
i62 ANNAI^ OF THE IvIVERPOOIv STAGE
so long as it remained in the hands of his family. The
tragedian religiously kept his word, making his last appearance
at the Amphitheatre, prior to its reconstruction, on November
15, 1880, when he sustained the character of Hamlet to Miss
IVIaud Brennan's Ophelia. To his credit be it said, he never
forgot the kindness of those early Liverpool friends, who, by
dint of liberal encouragement, helped him on the way to fame
and fortune.'
A stor>^ of Barry Sullivan and Henry Irving appeared in
the ' Pall Mall Gazette ' the day following the former's death,
which took place at Brighton on May 3, 1891. Irving is
reported to have told Sullivan that once when the latter was
playing in Liverpool, Irving made his d^but at the same theatre
and carried a banner ! Irving in a letter* to Mr. Lawrence,
characterised the story as ' a silly one.' The only occasion
upon which they acted together was at Edinburgh in 1857,
when Irving played Gaston to Sullivan's Richelieu.
On July 28, a benefit performance was given in aid of
Leigh Hunt. The following excerpt from a criticism of the
performances is taken from the ' Mercury,' of the Friday
following : — ' We now come to the principal " lions " of the
evening, Charles Dickens and Douglas Jerrold, the former
personating the redoubtable Captain Bobadil and the latter
IMaster Stephen, a coimtry gull. Never was greater enthu-
siasm evinced by any audience within the walls of this theatre
than that which attended the clever acting of these distin-
guished men. Rounds of applause greeted them every time
they came on the stage, and they seemed deeply sensible of
the good feeUng manifested towards them. Bobadil, the
valorous, boasting soldier — yet, when put to the test, the
basest of all imaginable cowards, was well personated by
" Boz " ; he looked the character to perfection, and
went through the many parts assigned to him with an
ease that would lead one to believe him an "old stager." Nor
was Jerrold, as Master Stephen, in any way behind Bobadil.
The wit and sarcasm of his various writings seemed as if it
were concerted in the little foppish, self-satisfied country sim-
pleton This visit of Charles Dickens and the
other distinguished amateurs is in every way memorable.
• Dated Jlay 22, 1891.
thkatim: im)Vvi., Liverpool.
". w I ]^M,SI^\^ KVENING, JULY 28, 184;
\\il. '■■ |-,!.in). '. Hill J, .1, ions Comcdv, in Fire Acts, of
EVERY MAN IN HIS HUMOUR.
K,l,l.-j- " JOHN FU11.ST1;U II C..h M,, Ai;(J|-STD8 DlfKKNS
i"IK,»-l; Mr. O. H. LE\^ ij Formal M, cKOIU'.K CRUIK8UASK
KRtOK I>1CKHVS I Cob Mr. AL-QUSTUS 800
I Bain, r, 1 . Mr. MARK I.EMON
I DamoKiLh Mlj. KMMELISR MONTAQOE
I MWrc Bridgel l|i». A. WIUAN
Tit,, CoVi. Wife M„, CAULF1EM>
T. J. TllOMI'.SON
•ilOLAa JEIIUOU)
Mr. JOHN LEECH
IDLET COSTEI.LO
\U FRANK STONE
IIAKLI* mCKENS
Afl- r Ik. CoDifdy. Mr l-.«.l.-» Ir.lcrlu.l,. of
iM. Mr OEOROE CRUIKSIIANR Jj.k lliimiiliricM Mr. O. H LEWU
!, l; : i MrCllARI.ES DICKENS Ml-. Knil.l.. ;. Iwiih » -ongt Mio ROUKB
: 1 , Mr. Ill'DLEY CUSTKLLO ikllv Larkin. Mm A. WlQAll
. Mr. T. J. THOMrsoN Mn. Humphhcs .'«i«. CACr.PIEI.n
Tucnii. lu.l.MiihMr, lVi,kc\ larii-of
COMFOHTAIMi: LODGINGS:
OR, PARIS IN 1750.
Ciiplain rion» -ii in old P.wcli OIBwr) Mr. FRANK STONE
Dill. ;¥» companion) Mr.JOHN LEECH
1,1 IK.rvillo lA,vcrof'Anloiortlc) Mr. AUOrSTUS DICKENS
.Sit Ilipi/inst"" MilT <»n EngliJ, TrjvOllcr) >lr CIIARUa PICKENS
RlKininilc (Sir llippiogton-« Valtl) Mr MARK LF.MON
(» broken Liculauuil) Mr. OEOHCIE CRPIKfillANK
(InUniloul 01 Police) Mr (; H. LKWF,S
Mr ACni'STr.S EGG
MlA- HOMER
Mrs CAUI.FIEMi
DBFORr. Til'.: COMEDY ■'HV. -VCKTURO TO WlbLIAH TCi-J,^
ncroRC TUB iisrERLuar the ovekture to the barbeh or SEViLLi
BSrORC THE TARCE THE OVCRTVRE TO GUY MANNEBINO
• M>.<iic.v will be .'cceiTnl on the Night of rorfoniuno: except at tbe Gmllcry Door.,
1- ri-rformani-e» to coiunicncc at Seven o'<Ioek k.uctlv, 6y t^hich littu it u partiaUurly rtqw*Ud dtai Oi
'< :cf may U HCUd., and that all bboiiid appear in fall ivsii,
NOTICE— The Atldre», irritlen bt Sir Edwanl Bulircr Lvlton and spoken by Mr. John ForsUr, vill \x
rpool. on Wi.Ui.»daj Evening, by Mr Webb. It vlll nlvj bo ou Dale at Ibe Thtalre, after the «rjt act of the
l'rb,e One ShUliui; The I'r.'hU in aid of the Keiiett
REDUCED FAC-SIMII,E OF THE ORIGINAT, PI.AYBII,L
For the Leigh Hunt Benefit Performance.
ANNAI.S OF THE LIVERPOOIv STAGE 163
All, together with Mrs. Dickens and the other ladies of the
party, were entertained by Mr. Richard V. Yates, who gave a
briUiant soiree on the occasion, to a large and fashionable
assemblage at his residence in the Dingle.' The performance
realised £a^o.
On August 16 the divine Rachel made her first appearance
in Liverpool and remained for three nights. She played
Camille in the tragedy Les Horaces. On September 6, Jenny
Ivind made her first appearance here, and was heard to advan-
tage as Amina in La Sonnambula. She created quite a furore,
and a hundred and one articles were named after her, down
to voice lozenges.
Charming Anna Thillon was seen at the Royal for three
nights, commencing March 14, 1848. Sims Reeves was here
on June 26, it being the occasion of the first concert given by
the Roscoe Club. On December 22, a benefit performance
was given in aid of the widow and family of W. J . Hammond.
On February 19, 1849, ^^^- Fred Lloyds, who for upwards of
30 years had been prompter and stage director, took a farewell
benefit.
On September 7, 1849, Mr. Thomas Denison Lewis, for-
merly lessee of the Royal, died in Paris. He was the last
surviving son of William Thomas and Henrietta A. Lewis.
He was buried in the family vault in Christ Church, Hunter
Street, Liverpool, where there is a marble tablet to his mem-
ory, recording that he was ' devotedly affectionate in the
relations of son and brother, constant and true in his friend-
ships, munificent, yet discriminating, in his charities, respected
by a large circle of acquaintances, and esteemed by all who
knew him. This marble was erected by a beloved sister,
who " sorrows not without hope." '
Thomas Denison Lewis was well known in Liverpool,
where his stiff gait, prim walk, and elegance of attire, which
was always in the pink of perfection, earned for him the sobri-
quet of ' Dandy Lewis.' His gait and mannerisms, were not,
however, the result of pride, or of any desire to be oiitr^, but
of sad necessity. He suffered from a spinal complaint, which
required him to wear a tight band round his chest and loins
to keep him erect, and at no time could he turn his head with-
out turning the whole of his body. * But the LiverpudHans '
i64 ANNALS OF THE IJ\^RPOOL STAGE
says W. G. Herdman,* ' either did not know this, or paid no
attention to it. He was ridiculed in caricatures, lampooned
on the stage, particularly at the Liver Theatre, and otherwise
sneered at by ignorant, uneducated people, who did not know
that within this walking automaton existed a man of most
amiable disposition, beloved by all who had to do business
with him ; of generous nature and kind manners, he was liberal
to all whom he employed, and preserved sufficient pride to
take no notice of a public who did not understand or appreciate
him,'
' Dandy ' Lewis, his two sisters, and their friend Tom
Tarleton were inseparable. ' To see,' continues Herdman,
' their carriage and pair turn out of Birchfield (IsUngton) , with
the Misses Lewis at one side with their white lap-dogs dressed
in blue and scarlet ribbons, and Tom Tarleton on the opposite
side, was a pretty sight. To the best of our recollection
Mr. Lewis never rode, perhaps his complaint prevented him ;
we always saw him walk. He lived at one time at the house
by the theatre. Then in a large house in Soho Street, sub-
sequently at Chadwick Mount, Kirkdale.' Mr. Lewis be-
queathed ^10,000 to the charities of the town.
In 1850 the management was assumed by Mr. W. R.
Copeland, who is still well remembered by many of the older
playgoing brotherhood. He was manager of the Amphi-
theatre when he entered upon control of the Royal, and the
proprietors of the latter, thinking that he might set one house
against the other, bound him down by agreement to keep the
Royal open six months out of the twelve.f
On Tuesday, February 19, 1850, Macready took his fare-
well of the Liverpool pubHc. He performed Wolsey [Henry
VIII), and Lord Towoily [The Provoked Husband). The
P\Tie and Harrison Opera Company were here during June,
and Professor J. H. Anderson, ' the wizard of the North,' in
November. The pantomime at Christmas was of local inter-
est. It was entitled Harlequin and the Child of Hale ; or, The
King of the Red Noses and the Liver Queen. The celebrated
Harry Boleno was clown.
• ' Pictorial Relics of Ancient Liverpool,' Vol. II, p. ii.
t In 1851 Mr. W. R. Copeland, the manager of the theatre, opened the Strand Theatre,
I/jndon. He called the theatre ' Punch's Play-hoiise," but a couple of seasons were
sufficient for him.
ANNAI.S OF THE LIVERPOOIv STAGE 165
Apropos of the visit of the Pyne and Harrison Company,
an amusing anecdote is told of a ' super ' at the Royal named
Paddy Quinn. Maritana was being played, and Paddy im-
personated one of the soldiers of the guard that cluster rotmd
Don Csesar de Bazan in the second act of the opera. When
the soldiers turned to go off, Paddy loitered in the rear, and
Eugene Corri, the stage manager, lowered the curtain and
closed him out, greatly to the delight of the audience, and the
discomfiture of poor Paddy. In a terrible rage he rushed
off, and told Louisa Pyne, William Harrison, and others
that for the insult offered him they would be all thro\vn out
next morning into the street without their salaries !
During the Tuesdays and Thursdays of January' and Feb-
ruary, 185 1, the performances commenced with the pantomime,
Harlequin and the Child of Hale. This was in order to give
those living on the Cheshire side of the river an opportunity
of witnessing it, as the boats ceased running between 10 and
II o'clock. The plays which followed included Jane Shore
and The Gamester, in which Barry Sullivan performed. G.
V. Brooke, and Helen Faucit were also here during that year.
On June 7, 1852, Miss Vandenhoff's new play. Woman's
Heart, was produced. In this, Mr. and Miss Vandenhoff per-
formed, as did also Barry Sullivan. The 1852-3 pantomime
was founded on one of Roby's ' Traditions of Lancashire,'
and was entitled. Three Legs, King of Man ; or. Harlequin
Lord Stanlie and the Eagle and Child.
The bright particular stars during 1853 were Charles
Mathews, Mrs. Fitzwilliam,* Buckstone, Henr>^ Compton,
Mrs. Stirling, WilUam Farren, Robson, G. V. Brooke, Helen
Faucit, Charlotte Cushman, and Barry Sullivan. The pan-
tomime produced at Christmas was founded on one of Mr.
Roscoe's poems. It was styled. The Butterfly's Ball and the
Grasshopper' s Feast ; or. Harlequin and the Genius of Spring.
On November g, 1854, Mr. and Miss Vandenhoff appeared
in the lyrical tragedy Antigone. Other performers at that
period were Mathews, Mrs. Keeley, Miss Woolgar, and
Charlotte Cushman. May 28 and 29, 1855, saw Madame
Alboni in La Sonnamhula and La Cenerentola. Celeste and
Webster appeared on August 27. They were followed by the
♦ Mr. W. R. Copeland's sistO".
i66 ANNAI^ OF THE I.IVKRPOOIv STAGE
annual visit of the Italian Opera Company, with Mario and
Grisi as the stars. Harlequin Steam ; or, the Old Swan and
the Knotty Ash, was the Christmas attraction.
On February ii, 1856, Barry Sullivan commenced an
engagement at the Royal. During his visit Macbeth was pro-
duced in a style of unexampled splendour and completeness,
and enjoyed an unbroken run of three weeks. On May 19,
Madame Constanti (a native of Iviverpool), came with her com-
pany and gave a series of operatic performances.
Sir William Don — a Scotch baronet — appeared on July
28. James R. Anderson tells us in ' An Actor's Ivife,'* that
Sir William Don ' was seven feet and something more ; he
was the tallest man I have seen upon the stage.' " Billy "
was a prince of good fellows, high-spirited, full of fun, and a
perfect gentleman with a University education. ' He married
an actress named Saunders, and made her " my lady " but the
match was an unhappy one, and the pair soon parted.' Sir
William Don held a captain's commission in the Fifth Dragoon
Guards, and within three years managed to run through an
estate worth about ;^85,ooo. After he left the army he decid-
ed to turn player, having previously won some fame as an
amateur actor. He journeyed to New York, and, in 1850,
made there, in The Jacobite, his first appearance on the pro-
fessional stage. Irving acted with Don in Edinburgh in 1857.
Irving was then an obscure actor, commencing his stage career
at a salary of thirty shillings a week. After experiencing
great vicissitude, Sir William Don, impoverished and neglected,
died at Hobart Town, Tasmania, on March 19, 1862, aged 36.
His wife, Lady Emilia Don {nh Emily Saunders), returned to
England, and on several occasions acted at Liverpool. She
died September 20, 1875.
The great theatrical event of 1856 in Liverpool was the
first appearance of Madame Ristori on July 18 as Medea.
Three daj's later she was seen in Rosamunda. Her visit
created great enthusiasm. In September Webster and
Madame Celeste produced the pantomime of Jack and the
Beanstalk ; or, Harleqiiin and Mother Goose at Home Again.
In this, Madame Celeste played Jack (afterwards Harlequin).
La Traviata was performed for the first time locally on
ANNAI.S OF THE I.IVERPOOL STAGE 167
October 21, when the youthful prima donna, ^Mdlle. Piccolo-
mini, made her first appearance here. Barry Sullivan and
Mr. and ^Irs. Keeley paid \'isits in December.
In January, 1857, was published an interesting volume
called ' The Li^'erpool Year Book for 1856.' It was ably
compiled and edited by Messrs. Lee and Nightingale. ' Liver-
pool,' says the work referred to, ' is now the most musical
and theatrical town in Great Britain, after London, and while
Manchester has but two theatres and two concert-rooms, no
musical society, and no resident artistes worthy of special
mention, with the exception of Herr Halle and Mr. Seymour,
the Liverpool public support four theatres and half-a-dozen of
the finest concert-rooms in the world — while our Philharmonic
and Festival Choral Societies give oratorios and miscellaneous
musical performances, often superior, in many respects, to
anything heard in the metropolis. In no town in the kingdom
have the working classes such admirable and cheap musical
recreations as in Liverpool, and here were originated those
Saturday Evening Concerts, which have been imitated in the
metropolis, and other large towns, though nowhere with the
success which has attended those in this busy money-making
"modem Tyre."' May not the present veracious chronicler
interpolate a sigh for ' the good old times ' that once belonged
to Liverpool ?
Madame Grisi, Madame Gassier, and other noted vocalists
were here with the Italian Opera Company on February 10,
1857. O^ August 10, Ristori commenced a three nigh , s' engage-
ment. Charlotte Cushman and Madame Celeste followed.
On October 29, 1858, John Vandenhoff took his farewell
of the stage in playing Brutus in Julius Ccesar, and Cardinal
Wolsey in the third act of Henry VIII. In the latter
selection Henry Neville enacted Cromwell, and he it was who
led this last representative of the once famous Kemble
school of acting from the boards which he had so long adorned.
On Wednesday evening, November 3, 1858, the perfor-
mance was under the distinguished patronage of Field Marshal
Lord Combermere, Sir Robert Gerard, the officers of the Mas-
onic Grand Lodge, and the ^Masters and Brethren of West
Lancashire. The occasion was a complimentary' benefit to
Malone Raymond on his retirement from the stage. Mr.
Raymond appeared in his favourite character of Sir Lucius
i68 ANNAI^ OF THE IvIVERPOOL STAGE
O'Trigger, and Mr. W. J. Hammond, out of compliment to the
partner of his late father, performed Bob Acres.* Thus the
names of Raymond and Hammond figured once again on the
bills of the Theatre Royal. On that night many an old play-
goer visited the theatre in remembrance of times gone by.
Commencing April 25, 1859, Anna Bishop and her opera
company were here for five nights. During the following
month Mr. and Mrs. Barney Williams appeared. Mdlle.
Titiens came with the Itahan Opera Company on November
14.
On August 3, 1859, the patent first granted to the theatre
in 1771, and allowed to lapse in 1849, was renewed for a period
of twenty-one years to Mr. W. R. Copeland. The Privy Seal
Bill was dated May 4, i860, and the patent would bear date
some few days later. Mr. Copeland was the last holder of
the patent, which expired on August 3, 1880. The grant of
Letters Patent has now lost most of its value.
In the drama of Paris and Pleasure, produced by Madame
Celeste on April 23, i860, she impersonated no fewer than
€ight roles. In the company with her were Miss Kate Saville,
Miss Hudspeth, and John Rouse.
On August 20, i86o,the Zouaves made their first appearance
in Liverpool. They were the original foimders of the theatre
at Inkerman, where they performed under the enemy's fire.
The battles in which they played a sterner role were : Alma,
Balaclava, Inkerman, and MalakoflE (Sebastopol) . There were
no actresses in the organisation.
The company from the Theatre Royal, Manchester, com-
menced an engagement on October 2. One of their number
was a young player who made his first appearance in Liverpool
as Faust in the play of Faust and Marguerite, and
afterwards became celebrated throughout the world as Henry
Irving. The ' Daily Times ' of October 3, spoke of his im-
personation in the following terms : — ' Mr. H. Irving was
rather too tall to permit of his successfuly reahsing the pop-
ular idea of a learned doctor, and there was not the least,
of an alchymist — which we certainly think there ought to
have been — about his appearance. He offered a very truthful
picture of a '' spooney " youth who was ready to die, and
• lk£r. Hammond, who only died recently, carried on business as a brewer for many
years at i68, Browiilow Hill.
ANNALS OF THE LIVERPOOIv STAGE 169
something more, for the object of his passion, but the portrait
failed to recall the original ; and the consequence was that
when he " went below " much more of our pity followed him
than the author intended he should receive.'
The Italian Opera Company came on September 2, 1861,
and with them Adelina Patti, who then made her second appear-
ance out of London. She performed Amina [La Sonnamhula) ,
Lucia {Lucia di Lammermoor), Violetta {La Traviata), and
Zerlina {Don Giovanni). Mdlle. Titiens performed with the
company in the following month. The conductor was Signor
Arditi. On November 7, Madame Grisi commenced the first
of her ' farewell ' performances in Liverpool, making her final
curtsey on the 15th inst.
Blondin was here on ]\Iarch 10, 1862. May 5, the Pyne
and Harrison Company ; October 20, Charles Mathews ;
and November 14, the ItaHan Opera Company including
Mdlle. Titiens. On December 26, the pantomime Harlequin
and the Three Bears ; or, Little Golden Hair and the Fairies,
was produced, and a new act-drop, from the brush of Charles
Brew, was then shown for the first time.
In' The Porcupine,' for November r, 1862, there appeared
an article, entitled ' Reform Your Theatres.' ' We have in
Liverpool,' says the journal, ' four theatres and a circus, and
we appeal to everyone who has visited some of the theatres in
Paris, Brussels, Berlin, New York, and even Melbourne, if
the wretched buildings in this great town are not a disgrace
to us, and totally unsuited to the purposes for which they are
used.
' What can be worse than the locales of the Theatre Royal
and the Royal Amphitheatre ? Every sense is offended as the
visitor approaches them. The stenches from market refuse
and close, dank, reeking streets are even dangerous to health,
while the sights and sounds are so offensive that hundreds of
ladies are denied the pleasures of theatrical entertainments
in consequence of the certainty of having their eyes and ears
polluted in a manner which will be well understood by mere
allusion. The same may be said of the Adelphi Theatre,
which few respectable ladies will visit, let the attractions be
what they may. Next, as to unfitness. WTiat can be shab-
bier, meaner, or more unsuitable for a large pubhc building
than the entrances to our two principal theatres ? They are
170 ANNALS OF THE LIVERPOOL STAGE
narrow, dirty, and badly lighted. There is no proper pro-
vision for the care of external articles of clothing — no decent
foyer, or refreshment saloon ; nothing in fact, but narrow,
cheerless, ill-lit lobbies, paltry rooms, and draughty staircases.
As to the interior accommodation, the idea that it is requisite
to sit at ease to thoroughly appreciate a performance seems
to be as little vmderstood by theatrical managers as by clergy-
men and churchwardens. At the Theatre Royal, the chairs
in the dress-circle are hard and far too small, and the sitting-
room in other parts of the house as beggarly and comfortless
as possible. At the Amphitheatre matters are even worse,
and the dress and side boxes more particularly, human in-
genuity could not invent anything more miserably deficient in
every quality a comfortable seat ought to have. Then, again,
the ventilation is wretched. In summer the ardent playgoer
is parboiled, and the only relief is a tic-dolor eaux-^wing blast
of cold air ; while in winter, the gusts of icy air from both
stage and lobbies is enough to freeze .even a Polar bear. Be-
hind the curtain matters are even worse. The stages, both
above and below, are encumbered with useless, antiquated
old machinery' ; the dressing-rooms are the veriest dog-holes ;
while the whole place — dangerous from absence of light — is per-
vaded by noisome smells, which, in the Theatre Royal must
be injurious to health. That the musicians — whose wretched
fate it is to sit in the orchestras — are ever free from colds and
rheumatism speaks wonders for the acclimatizing powers of
human nature.'
On January 24, 1863, A Loan of a Lover was played, the
part of Gertrude ' by a young lady, her first appearance on
any stage.' The j^oung lady referred to was Miss Alice Dodd.
April 27 was the first night locally of Balfe's new opera. The
Armourer of Nantes. It was interpreted by the Pyne and
Harrison Company, which included Mr. and Mrs. Aynsley Cook,
who appeared as Fabio Fabiani and Dame Bertha.
In ' The Porcupine,' for May 23, 1863, it was stated that
Mr. Copeland's playbills ' are even worse than they were some
thirty years ago. — That is to say, they are larger, dirtier, and
more incorrect. In fact, not to '' put too fine point on it,"
they are positively disgraceful to any respectable establish-
ment.' What was asked for was ' a small, clean, neatly-printed
octavo ' in lieu of ' the yard of flimsy, daubed over with filthy ,
ANNAI.S OF THE LI\rERPOOL STAGE 171
oily ink.' The bills were printed by Mr. Copeland himself, and
it was pointed out that in all the London theatres, and at most
of the respectable theatres in the provinces, the managers had
long since discarded the old style of playbill.
Mr. Copeland acted on the advice given, and early in the
following month issued a free programme, called ' The Curtain.'
This was published every- morning and distributed gratuitously
in the Theatre Royal and Amphitheatre. ' The Porcupine,' for
June 13, 1863, says : * It is very pleasant to have a neat little
playbill which does not stain one's gloves and the one which
has been distributed out at the Amphitheatre proves that a
desirable degree of neatness and cleanliness is perfectly com-
patible with a high degree of economy.'
On July 15, 17, and 18 {matinee), Madame Ristori graced
these boards as Medea, Lady Macbeth, and Maria Sturda.
Two nights later Mr. Copeland inaugurated a summer season
of Enghsh Opera, under the direction of Mr. Henry Corri.
On November 6, G. V. Brooke took a farewell benefit, prior to
his proposed departure for Australia by the ' Blanche Moore.'*
J. L. Toole, W. S. Branson, Paul Bedford, J. D. Stoyle.
and Marie Sydney appeared on the occasion. On December
15, Holcroft's comedy The Road to Ruin was performed by the
Liverpool Press Guards, assisted by the Literary and Dramatic
Society. It is worthy of note that the part of Old Dornton
was played by Mr. J. C. Bigham, now one of His ^Majesty's
judges of the High Court.
In Donna Diana, presented on February 22, 1864, Mr.
Hermann Vezin and his wife (formerly Mrs. Charles Young)
played. This being the Tercentenary year of Shakes-
peare's anniversary, special performances of the bard's plays
were given. On April 22, the Mayor, Mr. Charles Bamed
Mozley.t caused all the theatres and other places of amuse-
ment in Liverpool to be thrown open to the working-classes
free of charge. Much Ado About Nothing was submitted at
the Royal, and Miss Kate Saville portrayed Beatrice. A grand
fancy dress ball was also given in St. George's Hall. As You
Like It was presented on our poet's supposed birth (and actual
death) day with Kate Saville as the Rosalind. The ensuing
•He never went. See R. M. Sillard's ' Barrj' SiiUivan and his Contemporaries,'
Vol. II, p. 79-
■f He was the principal of Bamed's Bank, 9, I,ord Street, I4verpool.
172 ANNALS OF THE IvIVERPOOL STAGE
week saw Romeo and Juliet and The Merchant of Venice per-
formed. Representations of the bard's plays were also given at
the Prince of Wales, Adelphi, Amphi,' and Colosseum Theatres.
Mrs. Swanborough's vaudeville and burlesque company com-
menced an engagement on June 27. The company included
Marie Wilton (now Lady Bancroft), Maria Simpson, David
James, Thomas Thome, and George Honey. Frank Musgrave
was the musical director. It was during this visit that Marie
Wilton first met her future husband, S. B. Bancroft, who
was at that time a member of the stock company at the Prince
of Wales' Theatre.
One night Mrs. Swanborough's company played the bur-
lesque of Orpheus. A big handicap had been run that day,
and the winner was a horse called * Black Deer.' ' In the
evening,' says Mrs. Bancroft in ' On and Off the Stage,'*
' George Honey, who was playing Black King Pluto introduced
an unexpected joke in my scene with him. " Saucy boy I
You've been to the races, it is clear." I was taken by surprise ;
but soon recovered, and replied, " Yes, and was a winner, too,
you Black Dear." The audience at once recognised the intro-
duction, and received it with much laughter and applause.
Mr. Honey, seeing that I had the best of it, added * ' Oh, so I
thought ; well, long may you reign, dear." This, being done
on the spur of the moment, was more successful than if it had
been pre-arranged.'
■}}. Fechter performed on September 25, 1865, as did also
John Ryder and Carlotta Leclerq. The plays were Hamlet
and}i?wy Bias. The Christmas pantomime was King Salmon^
preceded by Somebody Else. In the company were Mrs.
Burkinshaw, Charles Dornton, and J. L. Warner. Mr. Bur-
kinshaw (afterwards of Colquitt Street) , was the stage manager
of the theatre.
On January 26, 1866, Miss Millicent Palmer had a benefit,
when she performed Pauline to Charles Calvert's Claude in
The Lady of Lyons. The celebrated Joe Jefferson portrayed
Rip Van Winkle on May 14. He was supported by Mrs.
Billington (who was specially engaged), and Charles Vanden-
hoff.
On July 9, the American Slave Serenaders (' the only
combination of genuine darkies in the world '), paid their first
• Sixth edition, p. 53.
ANNALS OF THE LIVERPOOL STAGE 173
visit to Liverpool. The company was under the direction
of Sam Hague, and by his name the minstrels were afterwards
known. Towards the end of 1866, the theatre came under
the management of Mr. H. J. Byron, as did also the Amphi-
theatre and Alexandra. His first Royal pantomime, which was
from his own witty pen, was entitled Little Dick Whittington,
Thrice Lord Mayor of London ; or, Harlequin Hot Pot and The
Fairies of the Elfin Grot.
Miss Madge Robertson (now Mrs. Kendal), made her first
appearance here on February 18, 1867, as Madame de Fon-
tanges in Plot and Passion. According to custom all the
theatres were closed during Passion Week. On April i, Mr.
(now Sir) F. C. Burnand performed Captain Crosstree in his
own burlesque of Black-Eyed Susan. Rosina Ranoe (Mrs.
Burnand), played WilUam, and Edward Saker figured as
Dame Hatley.
On May 29, 1867, Mr. W. R. Copeland died. The ' Liver-
pool Daily Post,'* said ' that at the interment in Smithdown
Road Cemeter>' there were some present who had grown up
as httle children under the fostering care of the deceased ;
there were others who had only known him a short time, but
not too short a time to learn his worth ; there were others who
had travelled long distances to be present, and managers who
had been pitted against him in the battle of life — from one
and all the expression was unanimous, that the earth had never
closed over a kinder or a more considerate friend and master
than William Robert Copeland.'
Offenbach's Grand Duchess was performed on April 27,
1868, with a cast comprising Mrs. Howard Paul, and Messrs.
W. Harrison, Frank Mathews, and J. D. Stoyle. Henry LesUe
now directed the destinies of the theatre. Commencing July
20, Buckstone's Haymarket Company were seen in a
series of old English comedies. The company included
Messrs. W. H. Chippendale, Henry Howe, Walter Gordon,
W. H. Kendal, Henry Compton, Mrs. FitzwiUiam, and Mrs.
Chippendale. On August 31, Miss Bateman performed Leah.
The company included the late F. A. Scudamore, who made
his appearance — his first here, by the way — as Hermann.
Mr. Scudamore afterwards acquired considerable reputation
as a dramatist. Alfred Dampier and Miss EHza Rudd were
also in the cast.
• June 3, 1867.
174 ANNAI^ OF THE LIVERPOOIv STAGE
In 1869 the Royal was under the management of Mr.
E. D. Davies of the Theatre Royal, Newcastle-on-Tyne. In
March, i86g, j\Iiss Bateman was here with Mr. T. W. Swinboume
and Miss Virginia Francis. Commencing April 5, Charles
Dickens gave a series of farewell readings. On the last night,
April g, he was heard in ' Sikes and Nancy ' and ' The Christ-
mas Carol.' On May 12, Fred Maccabe was ' benefitted ' by
the Liverpool Literary and Dramatic Society. Among those
\vho took part in the performance were Messrs. William and
Robert Crompton. May 17, saw Fechter and Miss Carlotta
Leclerq here in Hamlet and Black and White. J. B. Buckstone
and his company came on July 12. In the company were
Madge Robertson, Mr. and Mrs. Chippendale, Mrs. Fitzwilliam,
Henrs^ Compton, and W. H. Kendal. At Christmas the pan-
tomime was entitled The Queen Bee ; or, Harlequin Prince
Golden Land, Jack Frost, and the Lazy Drones of the Enchanted
Valley.
In 1870 Mr. J. Pitney Weston succeeded Mr. Davies as
manager of the theatre. On February 6, 1870, Henry Loraine
came on a visit. Charles Dillon began an engagement on Nov-
ember 19. He was supported by Miss Kate Saville and Miss
Romer. On January 9, 1871, Mr. J. Pitney Weston appeared
as Hamlet. The tragedy was followed by the pantomime
Blue Beard. Mr. Edward Garcia commenced his manage-
ment of the theatre on February 4, 1871, with Mr. C. H. Rey-
nolds as his acting manager. The opening bill comprised
The Way of the World and The Peepshow Man.
On August 21, 1871, the house was opened as the Theatre
Royal Palace of Varieties, under the direction of Mr. Harry
de Frece. Madame Colonna and her troupe of dancers were
here during the year. The close of 187 1 saw the building styled
the Theatre Royal and Opera House. Later it became again
the Theatre Royal. Madame Colonna and her troupe of dancers
visited the theatre in February 1872, and returned again the
following year. A new farce from the pen of Maurice de Frece,
entitled Is Brown at Home ? was produced on February 24,
1873. Messrs. T. F. Doyle, Alfred Hemming, and W. Walton
were among the performers who appeared here during the
year. In 1874, Mr. Isaac de Frece, Mr. Harry de Frece's
brother, was the lessee.
AXXALS OF THE LR^RPOOI. STAGE 175
On June 16, 1876, the late Alexes Leighton played Romeo
for her benefit. It was either Miss Leighton's father or uncle
who handed to Barr\^ Sullivan the presentation sword sub-
scribed for him by a number of Liverpool gentlemen. Mr.
Robert Crompton was the speech-maker.
On November 6, 1876, W. H. Pennington (who had seen
active service in the Crimea, and had taken part in the famous
Balaclava charge), commenced an engagement. For his
benefit on November 17, he played Hamlet, and was honoured
by the presence and patronage of Mr. and Mrs. William Ewart
Gladstone. Mr. Gladstone afterwards wrote to Pennington
and congratulated him upon his interpretation of the role. He
spoke of it as ' your admirable conception and performance of
the great and unsurpassed part of Hamlet.' In Morley's
' Life of Gladstone,'* the following extract from the great
statesman's private diar>' is given : — * Went to Liverpool to
see Pennington in Hamlet. It was reaUy excellent.'
On February 19, 1877, a drama, entitled The Leprechaun ;
or, The Lovers of Tara Vale, was produced for the first time on
any stage. The author was Mr. John Levey, who was for
some years associated with the Theatre Royal. Mr. Levey,
who carries on business in Bro\\Tilow HiU in this city, is father
of Mr. J. Langley Levey, the well-known journalist. Another
first production took place on March 12, when St. Leger ; or.
Sporting Life was submitted.
On October 20, 1879, the Royal opened under the man-
agement of Henry Loraine. The opening attraction was
D.T. ; or, Lost by Drink. By January 17, 1880, the theatre
was under the lesseeship of ]\Ir. John C. Chute.
Mr. Chute commenced his management with a new drama,
entitled Connemara ; or. The Wild West, but soon found that
the theatre was in bad odour with the local public. * The
house,' he tells me, * was dirty, and the scenery faded. My
only success was Connemara, which I afterwards successfully
toured.' Mr. Chute, who was the last theatrical lessee of the
theatre, managed the house for about three months.
After i\Ir. Chute left, the Royal was without a tenant for
several years. Fate had overtaken it, and it was ehen ! to be
a theatre no longer. The patent granted to Mr. Copeland
• Vol. II, p. 558.
176 ANNALS OF THE LIVERPOOIv STAGE
for twenty-one years from 1859 expired on August 3, 1880,
and was not renewed. On December 19, 1881, the Clerk to
the local Magistrates informed the Lord Chamberlain that
' the Corporation of this city is in treaty for the purchase of the
theatre for public improvements.'
At a special sessions held in the autumn of 1882 the fol-
lowing rules for the regulation of the local theatres were un-
animously adopted by the licensing bench of magistrates :
(i) ' That no theatre shall be open for the performance of
stage plays during Passion Week, or on any occasion when the
magistrates, for the preservation of the peace, may signify their
desire in writing, to the manager or other person, having at
the time the care and management of such theatre, that the
same should not be opened. (2) That there shall be no per-
formance of any stage plays in any theatre on Sunday, Christ-
mas Day, Ash Wednesday, Good Friday, or any day appointed
for a national feast. (3) That the several theatres shall be
closed not later than twelve o'clock every night during the
week, except on Saturday night, when the same shall be
closed at eleven o'clock.' These rules placed all the Liverpool
Theatres on the same footing as to closing during Passion
Week. Once all the theatres had to close during this period,
but the prohibition was afterwards struck out of the condit-
ions of licensing, in so far as it related to the theatres licensed
by the Lord Chamberlain or the local magistrates, but not
to the Theatres Royal by Letters Patent, which had to
observe the rule according to the terms of the patent. This
rule was really a survival of an ancient custom whereby all
the theatres were compulsorily closed during Lent.
The revival in 1882 of the order as to the closing of the
theatres in Liverpool during the whole of Passion Week,
created quite a storm of indignation among our townsmen,
and the rule was rescinded almost as soon as it was passed.
The Good Friday observance was, of course, still retained, and
also the Ash Wednesday prohibition. The latter prohibition
was ultimately rescinded in 1886 by the Lord Chamberlain,
owing to the well-organised agitation of John HoUingshead.
In 1884 the shapely interior of the Theatre Royal was
altered to adapt it to the requirements of a circus, and as such
the house was opened by Mr. Alfred Eugene Godolphin Cooke
on November 24, of that year. Although Mr. Cooke went to
AXNAI^ OF THE LI\^RPOOL STAGE 177
considerable expense in altering the theatre, the experiment
was not successful. In August, 1885, the Royal was put up
for sale by auction, w^hen the highest bid was £j,ooo. Verily,
the old place had indeed fallen on evil days, when it had
to go a-begging for a purchaser. What would former man-
agers have said if they could have revisited the shades of
their former glories and realised the insignificant value placed
upon the historic site ? Sic transit gloria theatri !
The Liverpool Corporation subsequently purchased the
building for £23,000. The purchase included, of course, the
house in Brythen Street, wherein ' Gentleman ' Lewis and
his son, ' Dandy ' LcAvis used to reside, and where, subse-
quently, W. R. Copeland Hved for a time, but which had long
ceased to be used as a dwelling-house. Afterwards a Umited
company acquired the theatre and transformed it into a
cold storage, which it still remains. Of the old theatre there
still remains the noble facade in Williamson Square to
remind us of the glories of the past.
THE OL\^IPIC CIRCUS
AND
ADELPHI THEATRE.
The first recorded visit to Liverpool of the celebrated
equestrian performer, Philip Astley, is to be found in ' William-
son's Liverpool Advertiser,' for February 12, 1773, which
states that recently ^Ir. Astley and his pupils from London
had exhibited their wonderful feats of horsemanship to
upwards of 20,000 of the inhabitants of Liverpool ' in a large
field near Mr. Roscoe's* bowling-green, Mount Pleasant.'
Philip Astley was born in 1742 and died in 1814. He and
his son were both remarkably handsome, the father being a
^•eritable giant, but of perfect symmetry. Old Astley used
to talk of a ' Krockadile wat stopped Halexander's harmy,
and w^hen cut hopen, had a man in harmour in his hintellects.'
' Pestiferous,' he always substituted for * pusillanimous,' and
he was wont to observe that he should be a ruined man, for
his horses ate most ' vociferously.'
• Father of William Roscoe, the celebrated poet and historian.
178 ANNALS OF THE LIVERPOOL STAGE
The wife of Astley senoir was a minor actress of much
merit. ' She had such luxuriant hair that when she stood up-
right it covered her from head to foot like a veil. She was
very proud of these flaxen locks ; and a slight accident by fire
having befallen them, she resolved ever after to play in a wig.
She used, therefore, to wind this immense quantity of hair
around her head, and put over it a capacious caxon. The
consequence was that her head looked about the same propor-
tion to the rest of her figure as a whale's skull does to its
body. As she played most of the heroines, the reader may
judge of the effect.'*
Though Astley and his company doubtless made
frequent return visits to Liverpool in the interim, I can
find no trace of subsequent visits here until early in
January, 1788, when the equestrians performed for some
time in the Royal Tent in Vernon Street, off Dale Street.f
The performances consisted of dancing, tumbling, and vaulting,
and musical entertainments by educated horses. The announce-
ment in ' Williamson's Advertiser,' says that ' these equest-
rian amusements are honoured by His Majesty's Royal Letters
Patent.' The company included Astley, junr., Master Cross-
man, and Signor Garcia. A note is added to the advertise-
ment in which it is stated that the materials of the Royal
Tent would shortly be put up for auction. Astley and his
troupe afterwards appeared at the Theatre Royal in 1789,
and again in 1790.
Brooke in his ' Liverpool'! states that 'there was not any
Amphitheatre or Circus in Liverpool, in 1775, nor for many
3'ears afterwards. A Circus, in Christian Street, for the ex-
hibition of equestrian performances, was, however, in existence
at least as early as the year 1795, because both the circus
and the street of that name leading to it, are laid down in
the Map of Liverpool of that date, published in " Aikin's
Description of the Country from Thirty to Forty miles round
^Manchester." It is now§ the Adelphi Theatre.'
The Christian Street Circus was first opened in 1789. On
May 4, 1789, the following advertisement appeared in
' Williamson's Liverpool Advertiser ' : ' Circus, Repository
and Livery Stables. Mr. T. Tinkler having given the Public
the outline of his intended Plan, at the time he engaged to
• ' Records of a Veteran.' J P. 88.
t ' Williamson's Advertiser.' ^ 1853.
ANNAI^ OF THE I^IVERPOOIv STAGE 179
take the capital Livery Stables, then building in the vicinity
of St. Anne Street, begs leave to inform the Ladies and
Gentlemen of Liverpool, and its Neighbourhood, that they
are now finished, and open for the reception and complete
accommodation of Fort>' Horses. The Riding School cannot,
however, be completed before the ist of June, owing to the
covered Ride for the convenience of learning and of taking
exercise tmder, not being yet finished ; but Mr. T. will make
it as commodious as possible . . . . ' The Riding School or
Circus, was, however, not completed until November, 1789,
as on November 30 of the same year it was announced in
' WiUiamson's Liverpool Advertiser ' that ' Mr. Tinkler begs
leave to inform those Ladies and Gentlemen who wish to ride
for exercise in the Circus, that the School is now compleated,
and a fire will be constantly kept, with every other accomo-
dation to render it agreeable and pleasant . . . . ' Although
the first advertisement quoted speaks of the Circus as being
' in the vicinity of St. Anne Street,' without naming the street,
this defect is remedied in a plan of Liverpool, published by
John Gore on August 12, 1790, whereon the Circus in Christian
Street is clearly indicated.
Old Astley was at the Theatre Royal in the March of 1793,
and in March, 1794, he opened at the Circus in Christian Street,
where an advertisement in ' Billinge's Advertiser,' tells us
that the ' great and w^onderful company will exhibit their won-
derful exercises.' Young Astley was at the Royal towards the
close of March, 1794. It was probably owing to Old Astley
having appeared at the Circus in Christian Street that Aickin
and he quarrelled, as on June 3, 1795, the patentee gave
the great equestrian notice to quit the Royal, which he had
rented from him for eight seasons at one hmidred pounds per
annum. In the following month Philip Astley caused the
subjoined advertisement to be issued in the local papers : —
' Proposals for building an Amphitheatre in the town of
Liverpool.
' Mr. Astley having, for a series of years, rented from Mr.
Aickin, the Theatre, and that gentleman having given Mr. Astley
a certain notice to quit the same, he is vmder the necessity
of immediately building an Amphitheatre, for the following
purposes : — IMusic, Dancing, Pantomimes, Equestrian, and other
Exercises, Pieces of ^Mechanism, and Scenic Representations ;
i8o ANNALS OF THE IvIVERPOOL STAGE
for which purpose the sum of Five Thousand Pounds will be
wanted to complete the same. It is, therefore, proposed to
build an Amphitheatre by subscription, by way of Tontine,
viz.: — one hundred subscribers at fifty pounds each, to have
a free admission ticket, on the same plan as the Theatre. The
building to be held in trust by six of the subscribers, by way of
security. Mr. Astley to keep the same in substantial repair,
and pay every encumbrance.
' It is intended the Amphitheatre shall be open twice a
year, x-iz. : November and December, also July and August,
and to continue three or more days in each week.
* Further particulars will be made known on Mr. Astley's
arrival in Liverpool. In the meanwhile, such ladies and
gentlemen as are inclinable to subscribe, either for themselves
or families, are humbly requested to send their address
immediately to Mr. Astley, Westminster Bridge, London.
N.B. — ' When the subscription is complete, IVIr. Astley will
undertake to have the buildhig ready in four montlis.'*
Sir James Picton tells us in his ' Memorials 'f that Astley's
appeal for the erection of an Amphitheatre ' was responded to
and the building was erected within six months.' This, I
think, is an error, as according to ' Gore's General Advertiser,'
Phihp Astley and his company commenced an engagement
at the Theatre Royal, on March i6, 1796, the great equestrian,
apparently, having made up his quarrel with Aickin. If he had
had a circus of his own in liverpool he would, doubtless, have
appeared there and not at the patent theatre. Furthermore,
the Astleys appeared at the Royal in the March of the four
succeeding years (1797-1800). Therefore, I think, we may
take it that Astley's appeal was not successful, and, that the
Christian Street Circus still pursued the even tenor of its way.
Towards the end of April, 1799, performances were an-
nounced to be given in a circus called the * New Olympic,'
at the bottom of Shaw's Brow, now William Brown Street.
The performers included Ducrow and Davis of equestrian
celebrity. The advertisement in ' Bilhnge's Advertiser ' tells
us that ' Mr. Davis wiU attend the Circus every day to instruct
ladies and gentlemen in the polite art of riding and managing
their horses. The company will perform every evening,
• ' Gore's General Advertiser," July 2, 1795. t Second edition, Vol. II, p. 305.
ANNALS OF THE LIVERPOOL STAGE i8i
except Saturday, as they are engaged to exhibit their uncom-
mon exercises on Whitsun Monday in London.' The circus
had boxes, pit, and gallery.
In the following year Mr. Davis opened the Circus in Chris-
tian Street. The building had been altered somewhat, boxes
having been introduced. The performances, which commenced
on February 21, 1803, were ' by permission of the Worshipful
the Mayor,' and embraced horsemanship, tight-rope dancing,
vaulting at full speed, equestrian exercises, and the precocious
ponies. The Taylor's Journey to Brentford was also given.
During his stay Mr. Davis announced that he would ' take
scholars to instruct them in the polite art of riding, and properly
to manage a horse.' On March 14, the last five nights were
announced, but on March 21, the paper states that ' the Mayor
has permitted the Circus to remain open a few days longer.'
On Monday, April 23, 1804, the Circus was re-opened under the
joint management of Messrs. Parker, Smith, Crossman, and
Davis. Vaulting, slack wire and rope performances, followed
by a new pantomime dance, ' Dermot and Kathleen,' were
given. On May 3, it was advertised that ' this place of
entertainment is (at a very great expense), newly fitted up
in a genteel and elegant stile.'*
During the last week of the company's stay Signora Bel-
inda was advertised to ' stand on her head on the piUar of a
chair, also, on one side of a ladder, which is fixed upright on a
table, and while in that position, will unscrew the staves, and
the ladder will fall to pieces, leaving her on the remaining part,
she will likewise stand on her head on the point of a spear,
which has never been attempted by any female performer
but herself, and will go through the same surprising balances
on a candle-stick.' The entertainment was to conclude with
displays in fireworks, ' The Town and Trade of Liverpool,'
* Peace and Plenty,' and ' God save the King.'
On April i, 1805, the Christian Street place of entertain-
ment was opened as the Olympic Circus. Our local historians
say it was opened under that name in 1803, but this is decid-
edly inaccurate.
The following account of the opening performance is
culled from * Gore's Advertiser ' of April 4, 1805 : —
• ' Gore's Advertiser."
i82 ANNAIvS OF THE LI\^RPOOI. STAGE
' On Monday night last the Public were gratified by the
opening of the Olympic Circus, in Christian Street, with the
best set of entertainments we remember to have seen in Liver-
pool. The powers of some of the actors in this new store of
mirth and wonder are well-known. Smith, Crossman, and
Mrs. Parker are, as they always have been, the theme of ad-
miration in ever^-thing they do ; their exertions are of a very
superior cast to those of any of their contemporaries. Mrs.
Parker seems to have taken a dip into Medea's kettle by way
of antidote, for she is absolutely more agile and fascinating
than ever, and Mr. Merriman in the hands of so intelligent
a humorist, and so excellent an equestrian as Crossman, is
rescued from all the usual vulgarity and nonsense of unedu-
cated professors. The neatness and effect of the infantile
feats of Master Davis were loudly and universally manifold ;
and, indeed the whole arrangements of novelty, variety and
whim, equestrian and pedestrian, met with the most un-
bounded applause and promises to be the favourite lounge
as long as it shall continue here.'
The season terminated on May 25, when Mr. Davis took
a benefit. The performance was ' by command of Prince
William Frederick of Gloucester,' who at that time was mili-
tary commander of the district.
The Olympic Circus had a good reputation for a long
time, and prospered exceedingly well. In addition to
feats of horsemanship, equestrian dramas and spectacles were
given with good effect. In those days many celebrated riders,
gymnasts, and clowns took part in the performances.
On January 27, 1806, Joe Grimaldi's great rival, Robert
Bradbury, took a benefit at the Olympic. Bradbury, it is
stated, wore on his person, nine strong ' pads' in order to go
through some extraordinary feats.*
Towards the end of 1806 the Olympic Circus was under
the direction of Mr. Banks of the Theatre Royal. Early in
December, D'Egville's new ballet d' action ' The Visit of my
Grandmother ; or, Little Red Riding Hood,' was given.
D'Egville, Woodward, and Johannot were among those who
appeared at that time.
• For further details cxmceming this first of knock-about clowns, see my account of the
Theatre Royal.
ANNALS OF THE LI\^RPOOIv STAGE 183
Early in January, 1807, there were feats of horsemanship
and tight-rope dancing by Master Ducrow, and a new panto-
mime was given called The Magic Star, in which D'Egville
played clown. On March 30 following, Mr. Banks took his
benefit, when a new comic ballet, entitled ' The Folly Fair ; or.
The Humours of Low Hill ' was submitted. Mr. Ducrow,
' the Flemish Hercules,' was also announced to * balance nine
persons on his hands and knees.' Two pantomimes were
played, Robinson Crusoe and The Golden Dream ; or. The Miser.
In the course of the latter there was exhibited a balloon twelve
feet high, which ascended with two persons in a golden car.
The Olympic re-opened early in December for the season
of 1807-8, with Mr. Banks still as manager. On December 10,
' Dickie ' Usher, the celebrated clown made his first appear-
ance here. Usher it was, who once on the occasion of his
benefit at one of the London theatres in order to attract
the attention of the pubhc to his ' bespeak,' obtained a
large washing-tub to which he harnessed a couple of geese,
and seated in this frail barque, he braved the waters of old
Father Thames. Needless to say his feat drew a great
concourse of people. Unfortunately, owing to the crowding
and jostling on the river's banks, several people fell into the
water and were drowned.
About this time (1808), the advertisements state that
' The entrances to every part of the house are now in Christian
Street.' Previously, one or more of the entrances had been
in Springfield Street. Friday night, April 8, 1808, concluded
the season, when ]Mr. Banks took his benefit. Afterwards the
Circus was altered and greatly improved. ' Billinge's Ad-
vertiser ' for December 5, 1808, contains the following: 'In
addition to the many numerous public buildings lately erected
in this town, for the various purposes of utility and amuse-
ment, we have much satisfaction in announcing to the public,
that this favourite place of resort has lately been enlarged,
improved, and ornamented in so great a degree as almost to
entitle it to the appellation of a new edifice. The old roof
having been examined by Mr. Foster, he was clearly of opinion
that it was incapable of such a repair as wotild render it safe.
This report determined the proprietors to new model the whole,
and give every possible accommodation to those who frequent
this place of amusement, which the situation of the building
i84 ANNALS OF THE LI\rERPOOI. STAGE
admits of. The walls have accordingly been raised sufficiently-
high to admit a second tier of boxes, so constructed as com-
pletely to command a view of the riding area and stage.
These are called the upper boxes, and are ascended by an easy
flight of wide and very commodious stairs which lead to a hand-
some ante-room or lounge. The present roof is constructed
on the newest and most scientific principles of carpentry, and
done in a most firm manner with strong oak king posts, double
principle rafters, and hammer beams, which give every truss
a double bearing on the wall. The whole is securely framed
and iron bolted together so as to give all the strength and
accommodation requisite for the use of machinery, etc., to
which it may be applied. The wood columns which supported
the boxes have been taken away, and others of neat cast iron
introduced in their place, in order more effectually to support
the new boxes. The Circus now forms three complete tiers
or stories for spectators. The lower one, which is level with
the ground floor, is to be called the gallery ; the second, the
boxes ; and the third, the upper boxes. The principal girders
which support the floors of these boxes rest on a strong double
curb, to which, and through the boundary wall, they are
secured by strong iron screw bolts. The frontispiece has been
ornamented with real pilasters, capitals and bases (they were
before only painted) ; new stage doors* decorated with arch-
itraves and entablatures, and from the front of the proscenium
rises a bold cove which joins the new ceiling and which is
to be elegantly painted in fresco. The whole of the house is
to be new painted and lined in an elegant manner, and we
believe it is the intention of the manager, Mr. Banks,
to open it early in this month. The whole of the alterations
have been made from the design of Mr. John Foster, architect,
and executed by Mr. Joseph Spencer, the contractor, who has
completed the whole in a most firm and substantial manner ;
the building does him the greatest credit, and he deserves high
praise for his taste as an artist. We feel pleasure in saying
• stage or proscenium doors are still to be seen in the present building. Apropos of
tliis I may refer to an article in ' Aaglia ' (June, 1903), by Mr. W. J. lyawrence, entitled
' A Forgotten Stage Conventionality,' in which it is stated that proscenium doors were
peculiar to the English theatre, and had no Continental prototypes. They were
manifestly a survival of the Elizabethan theatre. It is also reasonable to presume that
their oblique position was borrowed from the same source. For further information on
the subject, see an article by Jlr. WiUiam Archer on the Fortune Theatre, which
appeared in the ' Tribune ' for October 12, 1907, and was reprinted in the ' Shakespeare
Jahrbuch ' of Berlin for 1908.
ANNALS OF THE LI\^ERPOOL STAGE 185
that, for the elegance and accommodation, the liverpool
Circus is not surpassed, if equalled, by any in the
kingdom.'
From 1809 to 1812 the destinies of the Olympic remained
in the hands of Mr. Banks, ' by permission of the Worshipful
the Mayor.' On November 28, 1813, the Circus was opened
by Messrs. Astley, Davis, and Parker as the New 01>Tnpic
Circus. ' Dickie ' Usher was the equestrian clown, Ridgway
the pantomimic ' Joey,' and Blanchard the pantaloon. On
February 13, 1814, the pantomime Take Warning ; or, Harle-
quin in Scotland was presented. During this ' a mechanical
harlequin made a flight from the stage round the dome of
the Circus, and returned to the stage.' The season terminated
on March 25, 1814. On December 9, 1816, II Diavolo Antonio,
the rope-dancer, made his first appearance in Liverpool. He
was here again in 1821, when he was assaulted by J. B. Booth,
the tragedian.* To avoid the consequence of his act, Booth
fled from England, accompanied by his wife, and sailed for the
West Indies. The vessel in which he embarked called at
Madeira, and there he changed his mind, for instead of continu-
ing his journey, he took passage on a schooner bound for Nor-
folk, Virginia, where he arrived in the month of August, 1821.
These were causes which preluded the foundation of the Booth
family in the United States.
In 1817, Ducrow, Usher,t and one of the Flexmores were
here. In 1820, Mr. Stebbing performed, and quickly became
a great favourite. I have in my possession a coloured print
of Stebbing in his favourite character of Molly Maloney in
The Battle of Waterloo. Stebbing had a well-fitted-up hostelr>'
in Upper Dawson Street, which he called the ' ]\Iolly Maloney.'t
On ]\Ionday, December 11, 1820, Walter Donaldson
played Brunoff in The Boor's Hut ; or, Russian Perfidy. Don-
aldson was the author of an interesting volume, entitled ' Fifty
Years of Green Room Gossip,' in which he gives§ some notable
particulars of old theatrical life in Liverpool.
• Father of Edwin Booth.
t In 1 82 1 Usher opened a circus in the old tennis court in Hanover Street (near the
Excise oifice), and for so doing was fined £50 by the authorities. He afterwards reopened
the circus imder ' Royal Authority,' but with very indifferent success.
J In 1839 there was published a pamphlet, entitled ' The Remarkable Adventures of
Reuben Rambler, Gentle : near the Theatre Royal, Liverpool.' The pamphlet, a copy
of which is in the Liverpool Free Library, is nothing but a glorification of Stebbing's
hostelry, the ' Molly Maloney.'
^ Chapter VI.
i86 ANNALS OF THE LIVERPOOL STAGE
'Having performed,' he writes, 'under the direction of the
managers of the Theatre Royal, Liverpool, Messrs. Banks and
Lewis, I am cognisant of the working of the old system, when pa-
tents were respected. It is true, patents were a monopoly ; but it
was a monopoly in a good cause, as it preserved the legitimate
drama in all its bearings. Now, in regard to Liverpool, no
proprietor of a booth, no equestrian troupe could enter the
town ; and as this restriction was the means of keeping public
attention on the Theatre Royal, the legitimate and classic
works of the stage were year after year presented by an effi-
cient and educated set of artists, more likely to elevate and
advance society than the light and trifling performances of the
present day that may be regarded more in the light of amuse-
ments than carr>'ing out Shakespeare's idea of "holding the
mirror up to nature." The managers of Liverpool — Banks and
Lewis — were men of note in society ; the former had been for
years a respected tragedian, and the latter a son of the never-
equalled comedian, Lewis of Co vent Garden. Those men
legislated in Liverpool for the legitimate and illegitimate drama.
In the summer the Theatre Royal was the temple for tragedy,
and in the winter the Olympic Theatre in Christian Street
was the arena for equestrian exercises, melodramas, ballets, and
pantomimes. In this amphitheatre, in 1820, 1 made my bow as
a vocahst, and gained some popularity by Blewitt's splendid
melody of " Katty O'Lynch." Here I met with two Italian
ladies — the M'lles. Ferzis — celebrated on the rope — not in
the Blondin style ; those aerial flights were never then at-
tempted, save and except by the famous Madame Saqui.
' Diavolo Antonio, a Portuguese slack-\vire performer,
was much noticed in Liverpool, both in his public capacity
and in private circles.
' Although Liverpool at that time could not boast of
half the population of the present time, yet the pure and
legitimate drama flourished. But when the door of the
temple of the immortal bard was left open, and one adventurer
after another rushed into the town, the Theatre Royal — the
scene of the triumphs of the Kembles, Keans, O'Neills, and
Vandenhoffs — was totally neglected, and extravanganza be-
came the rage. A futile attempt in the way of opposition,
made by an old servant, induced the respective managers.
ANNALS OF THE LI\^RPOOIv STAGE 187
Banks and Lewis, to give up the Olympic Circus ; and finally
they retired from the to^Yn altogether, tired and disgusted with
the ingratitude of those whose tastes they had fostered and
encouraged. Lewis — called " Dandy " Lewis — died some
years ago, after his withdrawal from management, and left
;ri5,ooo to the National Gallery, on condition that Sir Thomas
Lawrence's (?) portrait of his father as the Marquis in the
petite comedy of The Midnight Hour should be himg up among
the other pictures.*
' The breaking up of the estabhshment in Christian Street
was keenly felt by all who came under the management of
such characters as Banks and Lewis ; and no one parted
from these honourable and respected men with greater regret
than the writer of these Recollections.'
In December, 1821, ^Mr. Banks engaged Mr. John Cooke
and his equestrian company for the season, which terminated
at the end of March, 1822.
In 1823, the Olympic was known as Cooke's Olympic Circus.
The clowns were Usher and Bradbury. Cooke and his dramatic
and equestrian companies appeared at the Olympic during the
winter of 1824, and in the early part of 1825. He had, also,
engaged to perform there at Christmas, 1825. but when he
arrived in November to make preparations for the ensuing
season, he found that, through the bursting of a sewer the
' ride ' of the Circus was immersed in water. Cooke im-
mediately employed a surveyor to see what was wrong, and
the latter reported that the building was unsafe. Thus
situated, Cooke determined to erect a new Olympic Circus f
upon an excellent foundation, ' which,' he says in an adver-
tisement in ' Billinge's Advertiser ' for Tuesday, December
27, 1825, ' I will take care shall be firmly and substantially
built, and which will be ready in three weeks, when it will be
opened with a superior company of stage and ring perfor-
mers, and my well-known unrivalled stud of horses.'
In his address to the pubHc he further tells us that the
Olympic in Christian Street was first let to him by the lessees
of the Royal at a moderate fair rent. ' I exerted myself in
the production of pieces,' he says, ' which I thought were cal-
culated to give satisfaction, and that my efforts were regarded
• The pictiire referred to was by Sir Martin Archer Shee.
t Afterwards known as the Royal Amphitheatre, Great Charlotte Street.
1 88 ANNALS OF THE LIVERPOOL STAGE
in a fav^ourable light, is evident from the unprecedented
success which followed, and which so liberally rewarded them.
Yet, strange as it may appear, my success was viewed with
envious jealousy by those who ought to have entertained
very different feelings ; my progress was thwarted by a succes-
sion of petty, contemptible vexations, of which words will
convey but a feeble idea ; and I was ultimately compelled
to pay a verj^ considerable advance of rent, or abandon the
service of those by whom I had been so generously and warmly
supported. Still the kind encouragement of the Liverpool
pubUc enabled me to meet an unprecedented increase of rent,
and I continued to prosper ; and, although numerous obstacles
were vexatiously thrown in my way, I persevered, and should
have continued to persevere, had not what appeared to me
an insurmountable obstacle presented itself.' This ' insur-
mountable obstacle ' was the flooding of the arena already
referred to.
After Cooke left the Christian Street Circus a committee
of management was appointed, and under its direction the
building, which was newly named the Royal Olympic Circus,
was considerably strengthened and improved, while the
audience part was newly painted and decorated. Arrange-
ments were entered into with Andrew Ducrow to re-open
the Olympic, which he did on Monday, December 26, 1825.
On February 3, 1826, Harlequin and The Three Wishes was
performed. The scenery was by Clarkson Stanfield. On
March 13, Ducrow and his company presented the melodrama,
Guy Fawkes. In this, those clever performers Mr. and Mrs.
Gomersal played. Messrs. Henderson and Sloman were also
in the bill. The latter gentleman was announced to sing
' Love and the Treadmill,' and ' Billy WTiite and Peggy Green ;
or, The Ghost of a Sheep's Head.'
Mr. Scott was one of the succeeding managers of the
Oljrmpic. Apparently from an old salary list in my possess-
ion, he had another circus in Liverpool besides the Olympic
imder his control. This other building was known as the
Pavilion. The salaries given by Mr. Scott at both circuses
ranged from £1 los. to £3 weekly, though on the production
of extra novelties, or the provision of particular talent, these
terms were extended to ten guineas per week, and even
more.
ANNALS OF THE LI\^RPOOI. STAGE 189
The capabilities of the Royal Amphitheatre, and the
energetic way in which the management was conducted soon
told on the fortimes of the 01>Tiipic. In 183 1 the latter
building was rebuilt and redecorated, and the ring space
was converted into a pit, with what had long been a desidera-
tum in Liverpool theatres, backs to the seats. The partition
between the pit and the orchestra was surmounted by iron
spikes, in order to prevent riotous spectators from climbing
on to the stage. This partition was in evidence right down
to the time when the house ceased to be a theatre. Similar
partitions were to be seen in other local theatres.
The theatre was christened the Queen's, and was opened
on December 26, 183 1, by Henry Beverley, the comedian, with
Harlequin Gulliver, in which Beverley himself played clown.
He was at that time lessee of the Queen's Theatre, Manchester,
and he competed pretty closely with Messrs. Raymond and
Hammond, who managed the Liver Theatre, in Church Street.
The scenic artist of the Queen's was the manager's brother,
William Roxby Beverley, who soon made a name for himself.*
Robert Roxby, the father of the Beverleys, had in his
youth served as a midshipman in the Navy under Nelson, but
tiring of a seafaring life had entered the dramatic profession,
and assumed the name of Beverley.
During Henry Beverley's management not a few of the
best-known players of the day trod his boards, notably Mad-
ame Celeste, who, on Monday, April 2, 1832, appeared as
Matilde de Grammont in The French Spy. On the 26th of
the same month she played in Wizard Skiff ; or, The Tongueless
Boy, and in The Dumb Brigand. Celeste remained for about
three months . In May, Mr. and Mrs. Leclerq were here. In
that month, when Life in London was produced, Mr. Beverley
played Jerry, and Jem Ward gave a taste of his pugiUstic
quality.
In the competition between Henry Beverley and the Liver
managers the rivals reduced their prices — the admission to
the gallery being cut down by both to sixpence. Beverley,
however, soon found that he was losing money, and in a Uttle
while gave up the theatre. He was succeeded by a variety of
different managers, one of whom was ' Dickie ' Usher.
• Within comparativdy recent years some of William Beverley's beautiful scenery
was still to be seen at the theatre.
igo ANNAI.S OF THE I^IVERPOOIv STAGE
Usher, after redecorating the house, re-opened the
Queen's on December 28, 1835 with Lodoiska ; or, A Tartar's
Vengeance, followed by a pantomime, entitled The Woodman
and His Ass ; or, Harlequin in Fairyland. There were also
equestrian performances in the arena.
Early in 1839, Master Stanislaus Calhaem, * The Eiverpool
Young Roscius,' aged 5, made his appearance at the Queen's.
On March 5, he played Albert in William Tell. This was
followed by a series of poses plasiique, in which Master Stanis-
laus was assisted by Mr. Gould. Then came a laughable
interlude, entitled The Little Hunchback ; or, The Modern
Richard III., Master F. Calhaem appearing in the t\t\e-role.
After the interlude, our j'oung Roscius spoke Collins' ' Ode
to the Passions,' accompanied with music, and illustrated by
groupings. Afterwards Master F. Calhaem gave a comic song.
The concluding performance of the evening was Frankenstein ;
or. The Man and The Monster, in which Stanislaus Calhaem
played Felix.
On Monday, April 29, 1839, Mr. Taylor, a celebrated
professor of the art of legerdemain, opened the Queen's for a
few weeks. An attractive item of the performance was the
announcement that ' Mr. Taylor will borrow a gentleman's
hat, in which he will cook a plum-pudding, large enough for
500 persons.'
The next managers were Messrs. Ridyard and Newton,
the former of whom had been lessee of the Theatres Royal,
Chester, and Newcastle, and a member of the Liver dramatic
corps, while the latter had been a member of the stock
company at the Amphitheatre. They opened the theatre
with a well-mounted play called The Wizard of the Waves — the
cast of which included the name of W. S. Branson — and
on the first night the house was crowded at popular prices.
' An incident, or rather a couple of incidents, occurred ' says
a writer in the ' Liverpool Courier' in deaUng with the opening,
'which utterly damned the piece and spoiled the managers' pros-
pects. In the most important of the sensational scenes, which
form a principal attraction in the drama, representing a ship at
sea, the mist (composed of gauze), became ignited by some means,
and was speedily in flames, and there was no little excitement
in the house, but the panic was allayed without much diffi-
culty, and no harm resulted beyond the destruction of the
ANNAI^ OF THE LIVERPOOL STAGE 191
inflammable mist. The other incident was the refusal of
the water to make waves — the men being in a striking humour
— and the consequence was a calm sea during the storm.
The spoiling of the best scene in the first play dimmed the
managerial prospects so much that the house was soon per-
mitted to change hands.'
On July 10, 1842, the theatre opened imder the manage-
ment of Messrs. Hudspeth and J. L. Parkinson, two actors
from the Theatres Royal, London, Liverpool, and Bristol. The
initial attractions were The Dream of Fate ; or, Sarah, The
Jewess, and Dominique, The Deserter ; or, The Gentleman in
Black. Afterwards Mrs. Bickerstaff was lessee for a brief period.
The next tenant was Mr. W. J. Holloway, late of the Sans
Pareil in Great Charlotte Street, which theatre (according to
the Liverpool correspondent of ' Oxberry's Budget,'), ' had
just been pulled down to make improvements in the neigh-
bourhood.' This would be about the latter part of October,
1843.
Mr. Holloway opened the Christian Street playhouse
under the name of the Victoria. The initial performance
took place on November 13, 1843, the attractions being The
Venetian ; or, The Council of Ten, and Our Old House at Home.
* The houses,' says Oxberry's correspondent, ' have been very
indifferent. Mr. Holloway, the manager, has reduced his
prices.'
Under date December 4, 1843, the same correspondent
writes : ' Good houses now and then, but taking it on the
whole it is a failure. The Bohemians is underlined to-night.
Mariner's Dream, and Timour, the Tartar.' Later on in the
same month he reports : ' Houses generally but poor. The
entertainments are excellently got up, and reflect great credit
upon the stage manager, Mr. Hutchinson.' At Christmas
the pantomime of Mother Bunch was produced.
' On Monday, Januar>' 22, 1844, Othello was performed with
Mr. Donald as the ]\Ioor and Mr. Edgar as lago. Yankee Mellor
sung several of his admired comic songs : and there was dancing
by Mr. Summerland and Miss Sharpe. The whole concluded
with the admired American burletta, written expressly for
Mr. Harper, entitled The Virginian Mummy ; Ginger Blue,
:\Ir. Harper ; Dr. Galen, Mr. Mellison ; Captain Rifle, Mr. Bel-
mont ; Charles, Mr, Latimer ; Mr. Patent, Mr. Gibbs ; Paddy
192 ANNAIvS OF THE IvIVERPOOIv STAGE
OXeary, INIr. Ivvons ; Schoolmaster, Mr. Simmonds ; Waiter,
Mr. Siimmerland ; James, Mr. Burgess ; Ivucy, Mrs. Letchford ;
Susan, Mrs. Hutchinson.'
February 26, 1844, ' A Mr. Grierson has been playing
during the last week in Virginins, Pizarro, and Venice Preserved.
IMessrs. Cony and Blanchard are still here. Business excellent. '
March 12, 1844, ' Mr. H. Beverley and the Edwin family
have been playing here to good houses. Mr. and Mrs. Hut-
chinson took their benefit last night, and were rewarded with
a bumper.'
March 20, 1844, ' Mr. and Mrs. Campbell's night, a piece
was played under the name of The Daughter of Erin, said in
the bills to be written by a gentleman of Liverpool. It is
published as Mary O'More, and is a disgrace to the stage.
We wonder that such pieces are allowed to be brought out.'
April 23, 1844, * The Shakesperean Society gave a per-
formance at this theatre on Tuesday last. The Stranger, The
Lnnkeeper's Bride, and The Irishman in London, were the
pieces chosen, the first-named piece was well played, consider-
ing that several of the members were inexperienced.'*
About 1846, a townsman, W. J. Hammond, who had
been in partnership with Mr. Raymond at the Liver, and who
had made an attempt to manage the local Theatre Royal,
took the theatre under his care. Down to this time the build-
ing had been outwardly a very plain-looking structure, with
an ordinary' brick front, while the interior had become dirty
and dingy with time. Mr. Hammond decided to revive the
departed glories of the house. Accordingly, he gutted the
building, refitted and decorated the interior in a most beautiful
manner, and put an ornamental face on the front wall, sur-
mounting the whole with several statues, one of which was
blown down in the 'sixties, and the others afterwards remov-
ed. He re-opened the house as the new Theatre Royal
Adelphi, on Easter Monday, April 13, 1846, when Charlotte
and Susan Cushman appeared as Romeo and Juliet before a
crowded house, though the prices had been increased, the
charge for the best seats being 7s. 6d. No bonnets were
allowed in the boxes, there being a retiring-room for ladies.
The prices of admission were afterwards considerably reduced.
• ' Oxberry's Budget.'
ANNALS OF THE LIVERPOOIv STAGE 193
I may mention here that on March 9, 1848, Susan Cush-
man married Dr. James Sheridan Muspratt, brother to Mr.
E. K. Muspratt, J. P.. of Seaforth Hall, Seaforth, Liverpool.
The latter gentleman informs me that he has in his possession
a sketch of Charlotte and Susan Cushman in the respective
characters of Romeo and Juliet.
Apropos of Susan Cushman's marriage with Dr. Muspratt,
the following is quoted from the ' Theatrical Journal ' : — ' In the
United States, where Susan Cushman passed the first six
years of her professional Ufe, she was well-known as an artist
of taste and judgment, and a highly-accompUshed woman.
Her first appearance was at the Park Theatre, New York, in
April, 1837, as Laura Castelli, in Mr. E. Sargent's play. The
Genoese ; and so immediate was her success, that she was, on
the fourth night, cast for Desdemona, to the Othello of Mr.
Vandenhoff, who was then starring in America. From New
York she went to Philadelphia and played for some time with
Mr. Ranger, now of the Haymarket Theatre, London. During
her brief career she successively played the "juvenile tragedy "
and "genteel" comedy business, as it is theatrically termed,
to Mr. James Wallack, Mr. Forrest, and Mr. Macready; and
was the representative in Philadelphia and New York, of the
principal female parts of most of our recent dramas, — Grace
Harkaway to her sister's Lady Gay Spanker, Pauline in The
Lady of Lyons, Florentine in Time Works Wonders, Julie de
]Mortemar, Lady Alice Hawthorn, and Satan in Paris. The .
last of these characters had a remarkable triumph, and was
played by her for man}' consecutive nights.
' In The Happy Man, and in most of poor Power's best
pieces, that delightful comedian has often declared that he
never had a more clever supporter than ;Miss Cushman, who
displayed a racy humor and a love of fun seldom looked for
among the Juliets and Desdemonas of the stage. The former
character was not one of this lady's American parts (?), but
since her arrival in England she has actually performed that
one character of Juliet upwards of two hundred nights.'
At the distribution of the estate of Mr. James Muspratt,
who died in 1886, a marble bust of Charlotte Cushman
by her friend and biographer Miss Stebbins passed into
the possession of Mr. James Liebig Muspratt, of Rhyl. Susan
194 ijl ANNAI.S OF THE UVERPOOI. STAGE
Cushman died at Wavertree, Liverpool, on May lo, 1859,
and was buried in Smithdown Road Cemetery.
Those who saw Susan Cushman's elder sister, Charlotte
as Meg IMerrihes and I^ady Macbeth will never forget those
two brilliant impersonations. In a word, Miss Cushman's
portrayals were founded upon intellectual ideas, and not upon
convention aUsms. She was also very successful in dissimilar
roles Hke Rosalind, Nancy Sikes [Oliver Twist), Hamlet, Lady
Gay Spanker [London Assurance), Mrs. Haller [The Stranger),
and Cardinal Wolsey in Henry VIII. To the regret of two
hemispheres she died on February 18, 1876.
On Friday, April 17, 1846, Miss Cushman took a benefit
at the Adelphi, when she played Mrs. Haller to G. V. Brooke's
Stranger. The following week the Misses Cushman were
seen in Ion, The Lesson of the Heart, and Guy Mannering.
April 27 witnessed Madame Celeste as Miami in The Green
Bushes. For her benefit on May 8, Benjamin Webster played
in The Lioness of the North, and The Miseries of Human Life.
The month of June saw the Misses Cushman paying a return
visit with G. V. Brooke. On the occasion of Prince Albert's
visit to Liverpool, July 30, 1846, an amusing farce was got up
specially for the occasion, in which Hammond, James Browne,
and other local favourites were to take part. A couple of
days previous to the performance, and during the rehearsal
of the piece, for which special local scenery had been painted,
Mr. Hammond received a communication from the I^ord Cham-
berlain prohibiting the production in consequence of some
allusions in it to royalt}\ ]Mr. Hammond was in a difficulty,
but in order that the expense in getting up the farce should
not be thro\\-n away, he rummaged through the theatre
Hbrary and, with the aid of the author of the interdicted play,
managed to locaHse the old farce, John Street, Adelphi, into
H.R.H.P.A. ; or, The Royal Guest.
The summer of 1846 saw Miss Romer, Mr. Borrani, and
WiUiam Harrison and company in Maritana, La Sonnambiila,
The Bohemian Girl, Fra Diavolo, etc. Afterwards there came
Edwin Forrest, the famous American tragedian, who appeared
in a round of favourite parts. He was then taking his farewell
of the British stage. Later on came charming Madame Anna
Thillon, followed on Monday, September 7, by the celebrated
danseuse, ^Mademoiselle Taglioni, who appeared with Monsieur
ANNALS OF THE I.I\^RPOOL STAGE 195
Silvain, and Madame Procter Giubelli in the ballets entitled
' La Sylphide,' and ' Nathalie.' TagUoni's engagement lasted
for three weeks. During the return visit of the Misses Cushman
in September and October, the lessee, Mr. Hammond, played
Touchstone to Charlotte Cushman's Rosahnd. This was the
first time that Shakespeare's comedy was played in this theatre.
Susan Cushman was the Celia. Mr. Hammond also supported
Miss Cushman in Guy Mannering. On December 11, General
Tom Thumb enacted Hop O' My Thumb in Albert Smith's
drama, entitled Hop 0' My Thumb ; or The Ogre and His
Seven League Boots. On January i and 2, 1847, the General
took a couple of benefits, when he sang a Scotch song, danced
the Highland fling, and played in Bombastes Furioso, and Hop
0' My Thumb. The Misses Cushman followed, and on March
I, came Henry Farren, who performed Sir Charles Coldstream
in Used Up. On May 14, George Vandenhoff played Hamlet
for three nights.
Monday, November 22, saw Batty's Equestrian Company
in Mazeppa ; or. The Wild Horse of the Desert. Towards the
end of that year, Mr. J. C. Cooke was the lessee of the
theatre.
On Friday evening, October 29, 1848, the bill comprised
Oliver Twist, Antony and Cleopatra, and The Dancing Barber.
Performances were given by Misses Fielding and Farrell,
Mrs. Campbell, and Messrs. Edward Edwards, J. Gardner,
F. Young, and Charles Rice, the last of whom was also acting
and stage manager.
After Mr. J. C. Cooke left, the theatre was taken by Mr.
Henry Egerton, who commenced his sway in 1849. During
the Egerton regime, many persons who afterwards trod the
boards of greater theatres fretted and strutted their hour on
the Adelphi stage. The late Alice Marriott, the famous
tragedienne, may be said to have graduated on Mr. Egerton's
stage. Her husband, Robert Edgar, was at the same time
acting manager of the theatre.
During Mr. Edgar's sojourn a benefit performance was got
up for an actor named Harry Pearson. Benefits or ' bespeaks'
in the old days of the ' Delly,' as this theatre was affectionately
called, were always of much importance, and the following
copy of a * writ of summons ' (for the original of which I am
indebted to a talented pupil of Hermann Vezin), goes to
196 .\NNALS OF THE IvIVERPOOL STAGE
prove, I think, that over half a century ago our histrionic
forebears were not afraid of using plenty of 'printer's ink ' : —
' Writ of Summons, Liverpool.
Printed at the University, Great Howard Street.
' Victoria, by the Grace of God, of the United Kingdom
of Great Britain and Ireland, Queen, Defender of the Faith,
to anybody who will serve me, of Brownlow Street, in the
Borough of Liverpool, in the County of Lancaster, Greeting.
We command you that within Eight Days after the service
of this Writ on you, inclusive of the day of such service, you
do make an appearance and enter the Theatre Royal Adelphi,
of Liverpool, to do a good Action, at the suit of your Old Friend,
Harry Pearson, who intends taking a Benefit on Tuesday, the
3rd of April, 1849. And take Notice, that in default of your
so doing, the said Harr}^ Pearson will think it extremely unkind
of you, as the Failure of the Benefit may cause his appearance
at Lancaster, and they will proceed therein to Judgment and
Execution.
' Witness, Robert Edgar, Acting Manager of the Adelphi
Theatre, at Liverpool, the 24th day of March, in the year of
Our Lord One Thousand Eight Hundred and Forty Nine.
' Mmd ! tr>' and strain a point, and come to the Adelphi
Theatre on my Benefit Night, April the 3rd ; you shall have
your value.'
The performance of the nautical drama. Fifteen Years of
a Seaman's Life, on January 16, 1850, records the fact that
representations were given by Miss Marriott, Ada Dyas, and
W. S. Branson. The drama was followed by the pantomime
of Queen Mab ; or, Harlequin and the Fairy of the Golden Pippin^
in which Miss Marriott appeared as Brillianta. The titular
part was performed by Miss Curryer, and Valentine Vousden*
from the Theatre Royal, Sadler's Wells, played harlequin.
In February, 1852, the theatre was closed for a little
while in order to remodel and redecorate the interior. On
March 3, Montague Smythson made his first appearance as
Hamlet, Miss Marriott playing Ophelia. April 5, saw pro-
duced a new local drama, entitled The Bride of Everton ; or,
• Afterwards a very popular monologue entertainer.
ANNALS OF THE LIVERPOOIv STAGE 197
Liverpool in the Olden Time. The principal characters were
undertaken by W. vS. Branson, Montague Smythson, Charles
Rice, and Ada Dyas. On the occasion of Mr. Egerton's
benefit (December 17), Edmund Falconer, the dramatist, and
Edward Weston (from Drur>' Lane Theatre) performed.
Tuesday evening, November 30, 1852, witnessed the
first performance here of the romantic spectacle entitled
Jeanne d'Hatchette, in which one hundred female warriors
appeared. Louis XI was played by Mr. Branson, and Jacques
de ViUiers by Montague Smythson (always a favourite at this
house), while the name part was sustained by that celebrated
actress, Ada Dyas. Other popular performers here at that
time were Mr. W. H. Dentith, and Mrs. Appleby.
The pantomime of Cinderella ; or, the Fairy of the Crystal
Fountain, produced at Christmas, 1854, had witty Walter
Hildyard as clown and ' Bob ' Cousens as pantaloon. The
pantomime was stated to be ' interspersed with hits, jokes,
and jests of the past, the present, and to come, prophesying,
t5rpifying, and verifying old saws and modem instances ;
replete with fun, froUc and folly with all, at all, and among
all, having a Lancaster range from Liverpool to Sebastopol.'
The Sleeping Beauty ; or. Harlequin, Prince of the Emerald
Isle was the 1855-6 annual. This was amusingly described on
the bills as ' an entirely new, old, ancient, modem, operatic,
autocratic, quite dramatic, antoatic, quizzical, physical, mys-
ical, fistical, omniferous, sqaliferous, puniferous, loquacious,
pugnacious, queerfacious, rumantic, half-frantic, laughable,
chaffable, quaffable, screaming, steaming, blowahead. New
Comic Pantomime.' This elaborate description leaves Pol-
onius quite behind in phrase-making. The pantomime was
preceded by the drama entitled The Round of Wrong.
In the production of The Corsair ; or. The Bride of Abydos,
on February 2, 1857, Caroline Elton played Oneiza. She was
also the Fair>^ Queen in the pantomime of The Fairy of the
Coral Grot; or, Harlequin Beauty and the Beast, which followed.
Mrs. Henry Bickerstaff played Beauty.
On Wednesday, April 6, 1859, Frederick Maccabe appear-
ed here and gave his celebrated entertainment entitled ' Be-
gone, Dull Care,' in which he sang ' The Shamrock,' ' The
Bould Soger Boy,' and other ditties. He also appeared as
Paddy in the Irish farce entitled Stand up, Dick ; or, Paddys
198 ANNALS OF THE IvIVERPOOL STAGE
Adventures with an Indian Princess. The occasion was for
the benefit of Mr. J. Hogan.
On Monday, June 18, i860, John Coleman appeared as
Hamlet, and on the 19th as Charles Von Moor in The Robbers ;
or, The Parricide's Doom, and as Dred in the play of that name.
He was supported by W. S. Branson, Fred Lloyd, Ada Dyas,
M. Henderson, and that fine emotional actress Mrs. W, H.
Dentith. The serio-comic drama, The Sailor of France, was
also performed, but in this Mr. Coleman did not play.
The once well-known drama Nick of the Woods ; or, The
Jibbenainosay, was presented on September 17, i860. In
it, J. Proctor, the American tragedian, made his first appear-
ance here.
August 17, 1861, witnessed the representation of The
Corsican Brothers. T. H. Glenney (a fine actor), doubled
the parts of Fabian and Louis de Franchi. It was at the
Adelphi that The Corsican Brothers was first played in Liver-
pool.
On Monday, July 21, 1862, a local drama entitled Jane
of Liverpool ; or. The Licensed Victualler's Daughter was
the pihe de rhistance. On the same evening another
' Young Roscius ' appeared. This was Master William Lunt,
who played during the week Richard III, Hamlet, and other
characters. It was about this time that our townsman
Mr. James Kiernan acted as call boy at the theatre, while
working during the day as a ' printer's devil ' at Mr.
W. McCall's Printing Works in Cartwright Place, Byrom
Street.
In July the theatre came into the hands of Wilham Scholes
Branson, who did much to raise the character of the house.
Mr. Branson had been a member of the celebrated Roxby-
Beverley company, a provincial school much sought after
by budding actors. He first visited Liverpool about 1838, and
played at the local Royal when, on May 3, 1847, Barry Sullivan
made his first appearance in our town. ' Heavy leads ' were
his forte, although he also appeared to advantage in comedy.
His Mr. Nicodemus in The Spectre Bridegroom was particularly
good, and so were his renderings of Whate [The Ruby Ring),
Lurcher [The Bottle), Ludovico {Evadne), and Bill Graham
{The Hand of Cards).
THE ADEI.PIII TII!:aTI
ANNAI.S OF THE IvIVERPOOI. STAGE
199
The Adelphi under Mr. Branson's management became
recognised as the home of spectacular drama. At Christmas
excellent pantomimes were given, and on these occasions,
as in Mr. Hammond's time, it was quite usual to see lines
of carriages reaching as far as Islington.
On September 15, 1862, T. H. Glenney and Henry Bev-
erley appeared in George Banington, the Gentleman Pick-
pocket ; or, The Queen Witch and the Man of the Red Hand.
This drama was founded upon a story then running in ' Rey-
nold's Miscellany.'
The Crown Prince ; or, the Buckle of Brilliants, was per-
performed here by members of the ist I^.R.V. and others
on Thursday, December 4, 1862. The occasion was Mr.
J. W. Gladman's complimentary benefit, which was under
the patronage of Major Bousfield, Captain Steble, Lieutenant
Anderton, Adjutant Holden, etc., etc.
In 1863, Wilson Barrett made his first appearance on
the local stage, just three months after making, at Halifax,
his professional debut. At the commencement of his career
here, Barrett played * utility ' parts for a small weekly sum
— a trifle of twenty shillings or thereabouts. Mr. Branson
took a liking to this earnest young actor, who was still in his
teens, and determined to promote him at the first available
opportunity. This presented itself owing to the inability of one
of the players of the company to sustain Hardress Cregan in
The Colleen Bawn, for which he had been cast. Mr. Barrett
was given the part — his first of importance — and he played it
very successfully.
Henry Loraine gave an excellent performance of Mac-
beth here on Thursday evening, October 30, 1863. He was
supported by W. S. Branson, Henry Beverley, George Revill,
Walter Crosby, and others.
On April 22, 1864, Mr. Branson revived A Winter's Tale
in order to commemorate Shakespeare's Tercentenar}^ The
performance was spoken of as being hampered bj' the acting,
' which,' says ' The Porcupine,' for April 30, 1864, ' is shy ; but
the effect of good mountings and stage management goes far
to make up for the deficiency, even in this essential particular.'
William Champion, father of E. J. lyonnen, was stage manager
of the theatre at this time. On May 9, Master John Boulton,
200 ANNALS OF THE IvIVERPOOL STAGE
an infant prodigy of four, appeared as Richard III, and
sustained the character throughout the fifth act.
Dick Turpin's Ride to York was played on March 15,
1865, with Walter Edwin as Dick. On Thursday, September
14, Matt Robson, Robert Power, Beaumont Kelly, T. Mead,
and Mrs. W. H. Dentith played in Transformed and The
Bargeman of the Thames.
On May 20, 1867, the Leno family (including the after-
wards celebrated comedian, Dan Ivcno), were engaged. Mr. and
Mrs. Leno were comic duettists, and the Brothers Leno, clog,
boot, and pump dancers. In ' Hys Book '* Dan Leno relates
an amusing story in connection with one of his visits to the
Adelphi : — ' When we arrived, in order to maintain the dignity
of our little company, I got some money from the manager
to pay for our luggage being taken to the theatre instead of
taking it ourselves. I called a man with a handcart, whose
respectfulness touched me deeply because he was a good deal
better dressed than I was. He loaded his cart with our
curious assortment of baggage. There was a trick bedstead
which, bundled together and tied roimd with rope, was not
at all an object of beauty suitable for a nobleman's furniture,
and an old tin tray tied in with string formed the bottom of
one of the baskets, so that when the cart was piled up with
the things it looked more hke a cheap eviction than the arrival
of a troupe of respectable professionals.
' We were to open at the Adelphi Theatre in Christian
Street, and we told the man to take the things to the Adelphi.
He touched his cap and went, while I decided that, as I had
plenty' of time, I would have a walk round the town before
going to the theatre, and still reach there as soon as the porter;
so away I went and bought some cakes with twopence of the
money that the manager had given me to pay the man with.
I have a vivid recollection of those cakes, which were of ex-
tremely obstinate nature with a speck of jam in the middle.
I remember hammering one on a doorstep in order to chip a
piece off, and I gave the other to some little girls, who Ucked
off the jam and played hopscotch with the rest.
' WTien I arrived at the theatre in about an hour's time
I foimd no porter and no luggage. I spread myself all over
• Pp. 42-6.
•snon^iaa ANNALS OF THE LIVERPOOIv STAGE 201
'8JJ
the town to look for him, and you can imagine my surprise
when I discovered the man with the bedstead on his back
engaged in violent altercation with two Uveried servants on
the steps of the Adelphi Hotel in Lime Street. He insisted
on putting the luggage in, and the hotel was in a state of siege.
The basket, with the tin tray false bottom had been pitched
out by the hotel people so energetically that it had fallen to
pieces, and the " props " were scattered all over the muddy
'Street. My porter was undaunted. He had been told to
;ut the things in the Adelphi, and he would have them in if
it killed him. It was a noble and subUme spectacle, but our
belongings were being seriously depreciated. Some small
boys amongst the interested crowd had found a stuffed dog
which had come out of the basket, and they were playing
football with it, and when I went to rescue the poor, dumb,
stuffed creature they played football with me.
' At last, with the dog under my arm and my clothes
covered with mud, I succeeded in getting near enough to the
porter to explain things. He was disappointed. I shall
never forget the look on that man's face if I hve to be ninety-
nine. I never saw a man look with such an earnest desire
to take a human hfe as he did, and had he raised the bedstead
and brained me where I stood I should not have been at all
surprised. I should have been sorry, but not surprised.
' Well, we collected the scattered property in the face of
a withering fire of criticism from the crowd, and then the por-
ter and I, with the cart, headed a long procession marching to
the theatre. Liverpool mud is very muddy indeed, and I was
not happy. Even then our troubles were not ended, for when
we reached Christian Street, one of the wheels came off the
confoimded cart, and once again our poor " props " were upset
in the slimy road. For the fourteenth time our porter re-
peated his entire vocabulary of obscene and profane terms
of general abuse and condemnation, and sent me into a cold
perspiration at the fearful language he used.
' And when at length I reached the. theatre, tired, hungry,
muddy, almost in tears, I held out my hand to reward the
honest labourer for his toil. I gave him all the money I had
left — one shilling. It was a thrilUng situation. The man
staggered ; there was a wild glare in his eyes ; his breath came
202 ANNALS OF THE LIVERPOOIv STAGE
and went in short snorts ; he clenched his fists, and — like the
heroes of romance — I knew no more. '
In the autumn of 1867 the company included Montague
Sm^-thson, H. McDonald, G. H. Pedder, T. C. Davies, Bella
Richardson, Fanny ^Marshall, and Clara Wood. Mr. Charles
Wood was the musical director. The pantomime of that
Christmas was Harlequin Prince Primrose and Cinderella ;
or, Goody Two Shoes, Her Twelve Fairy Daughters, and the
Little Magic Glass Slipper. The principal characters in this
were sustained by H. Mimroe, Wilham Champion, W. Morgan
(clown), G. Hone\'wood (harlequin), and G. Sullivan (panta-
loon) ; IVIisses Munroe, Laura Collins, Marion Jones, and Mr.
Charles Wood's daughters, Polly and Kissy Wood. The last-
mentioned lady is now Mrs. H. C. Arnold.
In April, 1868, Mr. and Mrs. Charles Sullivan came on a
visit. Sullivan's real name was Charles Gaskin. Prior to
his debut on the stage at the Queen's, in Dublin, he had been
an ostler in Farrell's yard opposite to the theatre. Later on
he changed his name to Charles Sullivan, and as such he lives
in the memor>' of the middle-aged playgoer as the ideal Conn
the Shaughraun and Shaun-the-Post.
Poor Charley ! What a fimd of wit and humour he pos-
sessed ! Once when he was playing in the pantomime of
Daniel O'Ronrke and the Eagle at the Queen's, Dublin, the
eagle, a large property bird, lost one of its wings as it soared
aloft. The audience tittered, but Charley turned the incident
to good account by exclaiming, ' Begorra, the bird is moultin.'
He was witty- to the last. Shortly before he died, the doctor
who did not expect the end so soon, left him with the remark,
' Well, Mr. Sullivan, I'll see you in the morning.' * Ah yes,
doctor,' answered Charley, ' but will I see you ? ' And he
never did !
In 1868, a number of alterations were carried out in the
interior of the Adelphi, which was also redecorated. The piece
with which the season was inaugurated on Saturday,
August 22, 1868, was Macbeth. In this, Tulloch appeared
as the Thane and Branson as Macduff. The ' Liverpool
Courier,' for August 24, mentioned that Mr. Branson's
patrons attended in strong force, ' and made their presence
known by demonstrations more real and decided than pleasant
or desirable.' In his address to the audience Branson
ANNALS OF THE LIVERPOOIv STAGE 203
appealed to his gallery friends to show some consideration
for his interests by behaving themselves better than was their
wont, at the same time assuring them that their conduct
theretofore had done him great injury by preventing the at-
tendance of persons who would otherwise have patronised
the boxes.
Though the ' gods ' and ' goddesses ' at the ' Delly ' were
nearly always frolicsome, it was from sheer high spirits and
natural exuberance. Few of them could read or write, yet
most of them knew Shakespeare off by heart. Woe betide
any unfortunate player who made a slip in the text of a
well-known part ! Upon his unlucky head the wrath of the
' Gallery King ' and his satellites soon descended.
For years at the Adelphi it was the practice to give small
discs, made of bone, to those entitled to free admission. This
custom is said to date back to the ancient Roman theatres,
where those entitled to free admission were given small ivory
or bone tokens (specimens of which are to be seen in the museum
at Naples), on which was depicted a death's head — hence our
word ' dead-head.'
At the Adelphi on Saturday evening, March 26, 1869,
Osmond Tearle made his professional debut in the character
of Guildenstern in Hamlet. He was then only seventeen. His
' first appearance on any stage,' as the familiar legend has
it, had, however, taken place on the occasion of the
performance of Julius CcBsar by the students of St.
Francis Xavier's College, Liverpool, when he undertook the
part of Trebonius. Osmond Tearle was not a native of
Liverpool, having been born in Plymouth, on March 8, 1852.
His parents migrated to Liverpool when he was quite
yoimg. As a boy he was very fond of reciting, and frequently
figured at penny readings in conjunction with the youthful
Hall Caine, now the well-known dramatist and novelist.
On Thursday, July 8, 1869, James Carr and Peter Grant
took a joint benefit, the former making his first appearance
as Tom in The Dumb Man of Manchester. Pantomime, or
non-speaking parts, were Mr. Carr's particular fine of stage
business.
It was about this time that Leonard Boyne made his first
appearance on the stage. He arrived in Liverpool in 1869
fresh from an army crammer's in Dublin, eager and anxious
204 ANNALS OF THE LIVERPOOL STAGE
to learn the art of the stage. His little stock of sovereigns
was spent freely wherever actors congregated, but his pro-
digality failed to procure for him the right of exhibiting his
talents.
' From the theatres to the south of the London Road,' says
Henry Herman,* ' Boyne wandered northward to the old
Adelphi ; but even there star parts were out of the question.
They offered Bo>Tie general utility, at a salary of
fifteen shillings a week ; and the budding tragedian did not
shine even in that. Somehow or other things always went
wrong with him on the stage. He would give his letters to
the wrong person ; he would go out at the wrong entrance and
dash against the ingenue Then they thought they would
try him in another sphere, and he was made prompter. They
carefully explained to him the working of the gas-taps in the
prompt corner. All being marked in plain letters, " Battens,"
" Floats," "Wing Lights," etc., he could not possibly make a
mistake. " You turn to the right," they said to him, " to
turn off, and to the left to turn on." "I imderstand" Boyne
repUed.' Mr. Boyne tells me that in those days the prompter
at the Adelphi always worked the lights.
Night came, and Boyne was at his post with his fingers
on the gas-taps. The play submitted was a short-lived
melodrama. The end of an act had been reached, and the
stage was in semi-gloom. All the lights were out, except the
footlights. The villain had crept into the room and was
about to steal the sleeping child from its cradle, when the
mother made her appearance, lamp in hand.
' Floats up,' whispered the stage manager.
' Up where ? ' asked Boyne.
' Lights up ! ' was the reply.
' Up where ? ' asked Boyne rather scaredly.
* Turn up the lights, you owl ! ' cried the stage manager.
Boyne made a dash at the tap marked ' Floats ' and turned
it swiftly. Out went the lights altogether.
' You d fool ! ' cried the stage manager, ' what are
you going to do now, you bhthering idiot ? '
Boyne drew himself up proudly.
' Yer language is not poloite,' he said, ' an' yer manner is
• ' Between the WMfEs,' p. i6.
I
ANNALS OF THE LIVERPOOL STAGE 205
not gentlemanly ; besides, I don't think yer know me suffici-
ently well to swear at me.'
There was some hissing in front, but most of the audience
roared. Boyne, however, was not again entrusted with the
working of the gas-taps. After leaving the Adelphi, he
obtained an engagement at fifteen shillings a week at the local
Theatre Royal. ' The Dramatic Peerage ' (-1891), says that
he was engaged for ' responsible business,' with incidental
turns at prompting. His first appearance on the stage of
the Royal was made as Leyboume in Buckstone's Flowers of
the Forest. After being there a month or two his salary was
increased to eighteen shillings weekly, but he was expected
to play from 12 to 18 parts per week. In 1871 Mr. Boyne
went to the Theatre Royal, Newcastle-on-Tyne. His subse-
quent and present success, is, I think, sufficiently well-
known.
When Mr. Branson retired from the management of the
Adelphi in 1869 he was succeeded by Thomas Theodore Heath,
of the Colosseum in Paradise Street, who introduced variety
entertainments. The following year, the establishment was
known as the Adelphi Music Hall and Theatre of Varieties.
Mr. Isaac de Frece was the lessee, and Mr. Harry de Frece,
the manager. In the same year the house was called the
People's Concert HaU and Theatre of Varieties. In October,
1870, the Lupino Troupe appeared, as did also Unthan, the
armless wonder. On October 18, 1871, the theatre was opened
by Mr. Lindo Courtenay, who brought for his opening attrac-
tion Fred Wright's company in A Quarter of a Million of Money.
In 1873, Mr. J. Pitney Weston, formerly of the Royal, was
the lessee, and called the house the New Albert Theatre.
On December 26 of that year he produced a pantomime of
the good old-fashioned sort, entitled Little Bo-Peep. On Friday,
January 16, 1874, Weston took a farewell benefit, upon
which occasion he played Hamlet, and Branson the Ghost
and Laertes. In 1875 the theatre was tmder the management
of James Carr. In the stock company were Edmund
Tearle, Basil Henr>', George D. Clarance, George Whyte, E.
V. Campbell, Clara Reed, and Clara Henderson. ' Hague's
Journal,' for July, 1875, said that ' the company at the Adelphi
is meeting with the success they deserve. With careful
management a new era seems in store for the old place.'
2o6 ANNALS OF THE LIVERPOOL STAGE
Towards the close of 1875 the Adelphi was under the manage-
ment of Henry LesUe and Lindo Courtenay. Afterwards
Edward Trevanion became proprietor and manager. He
inaugurated drama here on the two-houses-a-night principle.
]\Ir. Trevanion had at one time, in addition to the Adelphi,
the Prince's Theatre, Blackburn, and the Circus in St. Helens.
In 1883 a novelty was introduced in the shape of five Richards
in one night — five gentlemen playing an act each in
Richard III.
On January 22, 1884, W. S. Branson died at his residence,
Caxton House, Fairfield, Liverpool, and was buried in Smith-
down Road Cemetery. He was 74 years of age. Edward
Trevanion successfully directed the destinies of the theatre
down to his death in May, 1887. During his illness he found
a loving comforter and assiduous nurse in his wife, profession-
ally known as Clare Eversleigh. After his death the theatre
was carried on by his executors, with the assistance of the late
Barry Stuart as business manager. Mr. Stuart was always
a favourite with Adelphi patrons, as were Basil Henry, Maggie
Stuart, and Clara Scott. In the autumn of 1887 Barry Stuart
was the sole responsible manager of the theatre. Afterwards
he became the lessee and manager with a willing and worthy
heutenant in IVIr. G. D. Clarance, who later on became manager,
with Mr. Frank Wilson as the lessee. In its latter days the
Adelphi was nm as a variety theatre on the two-houses-a-
night principle. Since the magistrates refused to license the
house for dramatic entertainments the theatre has been
occupied by the Liverpool Gjnnnastic Club, Limited.
THE LI\^ER THEATRE.
In the latter part of the eighteenth century the site of
the Liver Theatre was occupied by an orchard and garden,
belonging to a Mr. Brooks, great-uncle to Rector Brooks,
after whom Brooks' Alley was named. Church Street was
not paved until 1760, and the parapet not flagged till 1816.
Few houses had been erected in the street up to the close of
the eighteenth century, but, after the dawn of the nineteenth
shops and houses sprang into existence very quickly.
ANNAI^ OF THE LIVERPOOI. STAGE 207
One of the new buildings was opened about the 'twenties with
the high-flown designation of ' The Dominion of Fancy.'
Its walls were adorned with mirrors and ornate decorations,
and it was used principally for balls, parties, and the
exhibition of dioramas.
It is a far cry, I know, from Church Street, Liverpool, to
the Black Forest in Germany ; but, if Mr. John Scott — who
kept in the early part of the last century, an oil and colour shop
in the Strand— had not amassed a large fortune by the sale
of an indigo dye, which he named the ' Old True Blue ' (the
basis of which he had discovered by chance in the Black
Forest, from noting the deposit left by a particular kind of
wood), the probabiUty is that there would have been no Adelphi
Theatre, London, or Liver Theatre, Liverpool. Having
bought property extensively in the metropolis, Mr. Scott built
the Sans Pareil (afterwards converted into the Adelphi), for
the exhibiting of his daughter's special talents — those of
authoress and actress. In 1816 he disposed of the theatre —
which cost him £10,000 — for £25,000. He then lived retired
for some years, but about 1824 migrated to Liverpool.*
In response to a generally expressed desire on the part
of the inhabitants for a second theatre in Liverpool, Mr.
Scott decided to turn ' The Dominion of Fancy ' into a theatre.
Accordingly a small stage — which was situated at the Church
Street end of the building — was erected, a useful company
engaged, and new scenery and machinery provided. The
name also miderwent a change, ' The Dominion of Fancy '
being altered to the Pantheon Theatre. The reason, doubtless,
why Mr. Scott chose that title was because he had acted at
the metropolitan theatre of the same name in Catherine Street
where, it is interesting to note, the great novelist, Charles
Dickens, had also performed, the manager of the establishment
being no less a personage than Mr. Davenport, the prototype of
the famous Vincent Crummies.
The Pantheon, which was situated on the first floor above
some shops, extended to Brooks Alley, and the entrances to
the boxes and pit were in Church Street. The gallery and
stage entrances were in Brooks Alley. The theatre was
tastefully decorated, and held from 800 to 1,000 people. At
• In 1829 he built the unlucky JVdelphi Theatre in Dublin.
2o8 ANNAIvS OF THE I^IVERPOOIv STAGE
the beginning of its career the Pantheon was only open from
November to Easter.
The theatre was not exclusively devoted to the regular
drama as, early in 1829, Madame Tussaud exhibited her
waxwork figures there for some considerable time. These
included ' counterfeit presentments ' of Dan O'Connell, and
Burke and Hare. Another attraction was the centrifugal
railway.
About the end of 1829, or the beginning of 1830, the
Pantheon came under the direction of Richard Malone
Raymond* and W. J. Hammond. f Prior to this both
had been popular performers at the Theatre Royal, in
Williamson Square. They re-christened Scott's theatre the
Liver. For many years there was placed over the main
entrance in Church Street a handsomely carved and gilded
representation of the fabulous bird from which Liverpool is
supposed to take its name. This emblem is still to be seen
over the present shops.
Under Messrs. Raymond and Hammond's spirited man-
agement the Liver gained great popularity In 1830 Paulo
and Ellar appeared in pantomime ; and Mrs. Douglas Jerrold
in The Maid of the Inn. On April 28, 1830, there was produced
a new local drama, written by a Liverpool lady, entitled The
Siege of Liverpool ; or, the Days of Prince Rupert.
In 1831 a popular burlettahere was Mr. Thomas Tomkins ;
or, 56 Ranelagh Street. T. P. Cooke made his first appearance
here on May 9 of the same year, as William in Black-Eyed
Susan. He frequently acted on this stage.
On November 12, 1832, Madame Celeste appeared here
for the first time, the pieces being The French Spy and The
Wizard Skiff. Celeste was a frequent visitor at the Liver.
Mons. Leclerq was the ballet master and pantomime director at
this time. January 5, 1835, saw the first performance of
that phenomenal success, Tom and Jerry, which had an unin-
terrupted run of eight weeks. It was at the Liver in the late
'thirties that the famous Sims Reeves obtained one of his first
engagements — that of ' singing walking gent ' — the emolu-
ment being thirty shiUings weekly. It was also at this
theatre that my good friend, the late James Carr, made, when
• Died January 13, 1862, aged 62. f Died August 23, 1848, aged 49.
ANNALS OF THE IvIVBRPOOIv STAGE 209
three months old, his first appearance on the stage, the piece
being the farce of Mr. and Mrs. White.
Early in 1836 Messrs. Raymond and Hammond arranged
to present the drama Sarah, The Jewess, which had
previously been played not only at the Royal, but also at the
Amphi' and the Queen's. Be it noted that the piece
had never been licensed by the Lord Chamberlain for
representation. The management of the Royal no sooner
heard of the intended performance at the Liver than they
decided to put their powers into force, and stop the production.
Messrs. Raymond and Hammond wrote to the ' Liverpool
Mercury,' and complained of the repressive attitude of the
Royal management. They said, ' the patent granted to the
Royal empowers its owner to play only such pieces as are
licensed by the Ivord Chamberlain The monopoly is
wielded against the public, and they are told that they shall
not have rational entertainment at a moderate price, noi
any such as an individual may please to give them, when, and
at what charge he thinks proper.'
Commenting on this the ' IMercury,' for Februar\' 12,
1836, said — * The case seems to be one of great hardship, so
far as the managers of the Liver are concerned, and the public
have good reason to complain, not, perhaps, against the lessee
of the Theatre Royal, but against the system of monopoly
which shuts out all competition, and gives them the ex-
clusive power to provide such theatrical entertainments, and at
such prices as they may think proper. It is high time that that
monopoly should be put an end to, and we cannot help think-
ing that the mode in which it has been exercised in the present
instance will contribute something towards bringing about
its abolition. We have some reason to believe that the
bill for the regulation of dramatic performances, which passed
the Commons, and was thrown out by the Lords, last year,
will be again brought forvvard during the present session.
If it be, we trust that the hands of the mover will be
strengthened by a petition from the inhabitants of Iviverpool.'
In 1836 Mr. Hammond dissolved partnership with Mr.
Raymond, who remained in possession of the Liver. Mr.
Raymond, in response to a generally expressed desire on the
part of the inhabitants to have a second patent theatre in
Liverpool, decided to petition the Government to grant the
210 ANNAI^ OF THE IvIVERPOOIv STAGE
same rights and privileges to the Church Street house as were
held by the Theatre Royal. The petition had the support
of the Corporation, and it was signed at the theatre, as well
as at the newspaper offices, by ii,ooo persons. The petition
was forwarded to Parliament on July 14, 1841, one copy
having been lodged at the lyord Chamberlain's office on the
twenty-ninth of the preceding April. The following is a
copy : —
* To the Queen's most Excellent Majesty.
' May it please your Majesty, We, the undersigned, your
faithful subjects, gentlemen, merchants, bankers, manufac-
turers, and other inhabitants of Liverpool, and strangers con-
stantly resorting thereto, humbly beg to approach Your most
Gracious Majesty with sentiments of the utmost loyalty and
attachment to Your Majesty's Royal Person, Family, and
Government.
' We humbly beg to represent to Your Majesty, that about
the year 1771 a patent was obtained from one of Your Majesty's
Royal predecessors to estabhsh a theatre in the town and port
of Liverpool. That when such patent was granted the pop-
Tilaticn of Liverpool was little more than 34,000, whilst it now
amounts to about 250,000. That although there are numerous
licensed theatres in London, two in Dublin, and two in Glasgow,
affording the inhabitants of those cities the advantage of fair
competition in dramatic representations, the inhabitants of
Liverpool (the second town in England) and its visitors, are
still subject to the exclusive management of only one patent
or licensed theatre.
' That the monopoly enjoyed by the present holders of
the patent granted in 1771, deprives the inhabitants of Liver-
pool and the numerous persons resorting thereto of the advan-
tages which would resiilt from just competition, and we are
humbl}' of opinion that a second patent or licensed theatre
would tend to improve and elevate the character of the drama
in this great commercial town.
' We therefore humbly request that Your most Gracious
Majesty will be pleased to direct letters patent to be issued
to the Right honourable the Earl of Sefton, Sir Joshua
Walmsley, knight, of Wavertree Hall, near Liverpool, and
ANNAI^ OF THE LIVERPOOI. STAGE 211
James Aspinall, esquire, of lyiverpool, Your Majesty's justices
of the peace for the county of Lancaster, and their assigns, in
trust for and on behalf of the community of the town of Liver-
pool, and its charities, for an additional patent or licensed
theatre and company of players in the Town of Liverpool,
suburbs, or neighbourhood thereof. And we humbly pray that
Your most Gracious Majesty may long live to reign over a
free and happy people.'
Mr. Clarke, the lessee of the Theatre Royal, naturally
objected to the petition. In a letter, dated August 10, 1841,
to the Marquess of Normanby, he stated that any other
patent house would injure the Theatre Royal. He even
offered to forego the tenancy of the theatre, and place the
patent at the disposal of the trustees named in the petition.
The trustees for the proprietors of the Theatre Royal also
objected to the petition. They said ' that the shares in the
said property have become greatly depreciated, and that Mr.
Clarke, who was for a number of years the manager of this
theatre, has been induced by a great outlay, and a reduction
of the rent, to enter into an agreement with Your petitioners
for a lease of the said theatre for seven years, and he has
recently given notice, that in consequence of the application
for a second patent theatre, he will, in January next, quit
the theatre, and submit to the consequences of a breach of
his agreement, alleging that to hold the theatre for the re-
mainder of his term would be absolute ruin to him, if a
patent for an additional theatre is granted ; and he alleges
that, although he has performers of the first talent from the
metropolitan theatres, the receipts of the theatre up to this
period have not cleared his expenses.'*
It was also pointed out by the proprietors of the Theatre
Royal that, although the population had increased threefold
since the Theatre Royal had been erected, a change in the
tastes of the inhabitants of the town had discouraged
theatrical enterprise. In addition they had also to contend
with religious objections on the part of no inconsiderable
portion of the commimity. Further, the second patent
would be an infringement of the patent rights secured to
the Theatre Royal by the Act of Parliament of 177 1.
* Mr. Clarke retired from the man^ement of the Theatre Royal about the end of 184 1
212 ANNAI^ OF THE LI\TERPOOI. STAGE
The petition for licensing a second theatre in Liverpool
was granted, and the warrant signed at Windsor on September
I, 1841. The Lord Chamberlain ordered the patent to be
drafted, but afterwards had doubts of the power of the
Crown to grant the request of the petitioners and com-
municated with Sir James Graham, Secretar}^ of State, who
placed the matter before the Attorney General. The latter
gentleman was in favour of the grant, and the Lord Cham-
berlain was notified that no objection existed in that depart-
ment to the issue of letters patent for a second theatre, and
orders were accordingly given that the patent should proceed
in the usual manner. The applicants considered the matter
substantially concluded ; Mr. Ra>Tnond paid ;fioo towards
the fees, and in addition entered into several important
contracts.
When the matter was placed before the Patent office,
the same doubts occurred to the head of the department
as had already assailed the Lord Chamberlain. The applic-
ation was returned to the Lord Chamberlain who considered
it his duty to forward it again to the Home Office. On
October 4, 1841, Mr. Raymond was informed that ' Sir
James Graham does not propose to recommend the grant
of letters patent for a second theatre at Liverpool .' And
there the matter ended.
In the face of this, however, Mr. Ra>Tnond was obliged
to open the Liver in order to try and meet the heavy
engagements he had entered into upon the faith of the
Royal order. On January' 30, 1843, he informed Sir
James Graham, the Secretary of State, that he was ' beset
with informers, and many of the artists engaged in the
theatre are being at this moment prosecuted. Appeals
to a jury at Westminster must follow, to prevent the in-
fliction of hea\'y' penalties (which many are unable to pay),
and before we resort to such a tribunal, I must earnestly, but
respectfull3^ request you to reconsider the subject The
subject is at this moment causing a strong sensation in Liver-
pool. My theatre is prosecuted by the proprietors of the
present Theatre Royal, who have frequently acted unlicensed
pieces themselves, and now try to make me suffer for what
they, or their agents have been repeatedly guilt>' of. Thus
situated. Sir, I appeal to your sense of justice to consider the
ANNALS OF THE LIVERPOOL STAGE 213
unfortunate position in which I am placed. My means, my
liberty are at stake, as well as the fate of others.'*
Mr. Raymond was subsequently fined £^0. A similar pen-
alty would have been enforced against three of the principal
performers engaged at the Liver Theatre had not Mr. Raymond
compromised the matter by paying a further sum of twenty
five pounds to the different charitable institutions in the town.
The repressive attitude adopted towards Mr. Raymond
by the proprietors and lessees of the Theatre Royal was pri-
marily the cause of the passing in 1843 of ' The Act for Regu-
lating Theatres,' whereby the patent houses lost all their
ancient privileges, save that of being exempt from a yearly
renewal of the license to act. The Liver Theatre was the first
theatre in England to be Hcensed under the new Act, under
which statute the theatres of this country are now licensed.
It is also worthy of note that the Act abolished at one
fell swoop the invidious enactments, under which actors
and actresses had long been designated * Rogues, Vagabonds,
Sturdy Beggars, and Vagrants,' epithets which were severely
felt by every member of the profession.
The re-opening of the Royal Liverf took place on ^Monday,
October 9, 1843, under the direction of Mr. Raymond, the
pihe de rhistance being The Rivals, followed by Cramond
Brig or, The Gude Man of Ballangeich (in which the Mackay
played Jock Howieson), and High Life Below Stairs.
In his opening address Mr. Raymond said : — ' I take this
opportunity to return grateful thanks to the inhabitants of
Liverpool and vicinity, who have on so manyoccasionshonoured
with their signatures and support, the various petitions to
Government, to legalise this favourite establishment. I am
happy to announce that, chiefly owing to their kindness as
well as an arduous struggle on my own part, this theatre is
at length placed on a footing second to none, either in or out
of the metropolis, being now legally authorised by the magis-
trates of Liverpool, according to Act of Parliament, to rep-
resent and perform the legitimate drama in all its various
forms, including tragedy, comedy, opera, farce, interlude,
• Parliamentary Papers, 1843, Vol. 44.
t The tise of the prefix ' Royal ' was one way of getting even with the proprietors and
lessee of the Theatre Royal, as previous to the passing of the ' Act for Regulating
Theatres,' no playhouse (save the patent theatres), dare use the term. Mr. Raymond's
playbills also bore a large-sized drawing of the Royal Arms.
214 ANN.\LS OF THE LR^RPOOL STAGE
pantomime, and every other entertainment of the stage with-
out restriction.'
In the auttunn of 1843 Phelps, the great tragedian, com-
menced a ' starring ' engagement at the Liver. During his
visit he played Hamlet, Shylock, Gloster, the Stranger, Sir
Edward Mortimer, Sir Giles Overreach, and Jaques.
Towards the end of 1843, the house was designated the
' Theatre Royal, Church Street,' afterwards going back to
its old name — the Liver. Mr. Raymond's first dramatic
season under the new order of things terminated on March
16, 1844.
In 1844, Sam Collins, vocahst and comedian, from the
Covent Garden and Hajonarket Theatres, performed for six
nights as Paul Clifford in Paul Clifford ; or, the Lost Heir.
This favourite performer (whose real name by the way, was
Samuel Vagg), opened in 1862, CoUius's Music Hall in
Islington Green, London.
Commencing August 12, 1844, the theatre was, for a
short time, under the management of the celebrated tragedian,
Gustavus Vaughan Brooke, who leased the house from Mr.
Rajonond, and while here performed a variety of parts.
J. B. Buckstone, Mrs. Fitzwilliam, John Liptrot Hatton,*
' Jimmy ' Lunt (father of the Milton family), H. Bedford
(nephew of Paul Bedford), and Tom Thumb also appeared
about this time. Miss Emmeline Montague (afterwards Mrs.
Henry Compton), performed Desdemona to Charles Pitt's
Othello on June 26, 1845.
In 1845 the theatre came under the management of Mr.
C. F. Marshall. In September of the same year Mrs.
H. P. Grattan, of Covent Garden and the Princess's Theatres,
opened the Liver.
Mrs. Grattan, who was a native of Liverpool, left the Liver
in March, 1846, and was succeeded by Mr. James Mackenzie,
junr. After being closed for a time the theatre re-opened in
January, 1847, ^s the Grand Casino de Naples, under the dir-
ection of Mr. Julian Adams, who brought his famous band.
In 1847 the attractions comprised the Ethiopian Seren-
aders (February) ; a panorama, by Telbin (April) ; and from
• The celebrated musical composer who was bom at 31 Whitechapel, Wverpool, on
October 12, 1809.
ANNAI^ OF THE I.I\^RPOOIv STAGE 215
May to July ' Baron ' Renton Nicholson's* tableaux vivants
and poses plastiques.
The theatre was re-opened on August 30, 1847, by Mr.
J. C. Hay with Richelieu and The Turnpike Gate. In Septem-
ber of 1848, Robert Houdin, the conjurer, made his appearance.
On October 9, Mr. James Rodgers, lessee of the Theatres Royal,
Hereford, Stafford, and lyudlow, assumed control. He gave
dramas and ballets, but soon had to reduce his prices.
In 1849 Isabel Dickinson fulfilled a starring engage-
ment. There was a good house on the opening night. To-
wards the close of the performance Miss Dickinson abruptly
left the stage, followed by the other players. The curtain
was lowered, but the audience still retained their seats,unable
to grasp the situation. A cry of ' Fire ' was raised, but,
fortunately, it did not create any serious alarm. As a matter
of fact the ' pittites ' only shouted ' Turn him out ! ' After-
wards the audience quietly left the theatre, only to find
on reaching Church Street that the front and shutters
of one of the shops underneath were in flames, with firemen
and police in full and busy attendance.
In April, 1849, an operatic season was inaugurated. In
July Madame Warton opened the theatre with her original
and classical Walhalla entertainment. Mr. Robert Edgar
was the last manager of the theatre. He did not hold it
long, as by May 11, 1850, the theatre had been converted by
Mr. J. Carmichael into the Liver Drapery Estabhshment,
which it remained until taken as a music warehouse by Mr.
William Lea, who, a little while ago, made two additional
shops out of the premises.
THE SANS PAREIL THEATRE.
In the second week in Jime, 1825, there was opened at
what was then No. 18, Great Charlotte Street, a large
circular wooden building known as the New Rotimda.
Stonehouse in his ' Streets of Liverpool, 't states the building
was erected by a Mr. Marshall, and that it was known as ' Mar-
shall's Moving Panorama.' At any rate, in the early part
• ' Baron ' Nicholson was the moving spirit of the infamous Judge and Jury Clubs,
t Third edition, p. 80.
2i6 ANNALS OF THE IJ\^RPOOL STAGE
of its career, panoramas were frequentl}^ exhibited. At the
opening in June, 1825, the panorama of the Bay and City
of Naples was exhibited. This was succeeded in February,
1826, by a panorama of the City of Venice. Later in the
same year the place was converted into a theatre and opened
by Mr. W. J. HoUoway as the Sans Pareil.
Mr. HoUoway came of a well-known theatrical family,
one of whose members had gained celebrity by playing
Richard III on horseback at Astley's. Others of the Holloways
had ' portable ' theatres. There are still some members of
the family in the profession.
Success must have crowned Mr. HoUoway's efiforts, as in
the following year (1827) he made the theatre more com-
modious and comfortable. Messrs. Blanchard and Baker
were two of the leading actors. There were two performances
daily, the first commencing at half-past five o'clock (doors
opened at five), and the second at seven. The theatre boasted
a pit and gallery, admission being sixpence and threepence,
respectively. The performances were ' by permission of the
Worshipful the !\Iayor.'
Good acting was the rule, not the exception ; and the
pantomimes at Christmas are said to have been excellent.
The patrons of this theatre ^-ere drawn from the poorest classes,
yet so prosperous was the house that the number of copper
coins taken at the door by HoUoway and his wife was
truly prodigious. Mr. HoUoway used to stand at the pit
door, and ' Missus ' attended to the gallery entrance.
Afterwards the former would go into the pit to pack the people
so that no space should be lost. To expedite the ' packing '
process HoUoway thought nothing of giving a boy a box on
the ears to emphasise his remarks. This type of showman
has vanished into the dim and distant past.
In 1831, HoUoway decided to rebuild his theatre, and
during the recess the company performed in the spacious haU
adjoining the King's Arms* in Castle Street. Mr. HoUoway
christened his temporary theatre (the entrance to which was
through an arch-way in Cook Street), the Sans Pareil. The
opening performance took place on November 28, 1831, and
the programme consisted of Trial by Battle; or, Heaven Defend
• The site is now occupied by the branch Bank of England.
sri,i' sil^]^: ivi
ANNALS OF THE LI\:ERP00L STAGE 217
the Right ; a sailor's hornpipe (in character) by Miss Holloway;
the comic vaudeville Paul the Rich, and Peter the Poor,
with a rustic ballet ; a comic extravaganza by Mr. Watson
and a favourite song by Mr. Chickeley. The even-
ing's entertainment concluded with a grand serious piece,
entitled The Fall of Algiers in 1830 {by sea and land). Boxes
were 2S. ; pit, is. ; and gallery, 6d. There was half-price
at a quarter to nine.
Here, as at Great Charlotte Street, Holloway set forth
his plays in an attractive manner. On the production of The
Ice Witch on December 26, 1831, the ' Liverpool Mercury- '
said : — ' The scenery (entirely new), is highly picturesque,
gorgeous and beautiful, surpassing all the former efforts of
the artists of this establishment The dresses and deco-
rations are at once correct and costly ; the dances tasteful
and the music (original and selected), is characteristic and
pleasing. We advise those who may not have been able to
obtain admission this week in consequence of the crowded state
of the theatre, to take the earliest opportunity of gratifying
their young friends and remunerating the spirited proprietor
for the immense outlay that must have been expended on
its production.'
In January, 1832, R. Bradbury-, junr. (nephew to Grim-
aldi's great rival, Robert Bradbury-), played clown in a pan-
tomime here. Cony and Fly-nn's performing dogs were seen
in March.
After Holloway left the Cook Street ' Sans Pareil,'
it was taken by a fanatic named Aitken, who converted it into
a chapel, where he conducted so-called reUgious services.
His fanatical ravings had the effect of obtaining for him
thousands of disciples. They afterwards migrated to Hope
Hall.* Samuel Warren, author of ' The Diary of a Late
Physician,' drew public attention to Aitken and his flock
in an article in ' Blackwood's Magazine.' The scenes which
took place, especially in the vaults beneath, were extra-
ordinary. The fanatics would meet to pray, jump up,
tear their hair and clothes, leap over the forms, throw
themselves down on the floor, and hteraUy ' Hck the dust.'
The shrieks of the poor creatures were fearful. The women in
• Opened in 1836.
2i8 ANNALS OF THE LI\1ERP00L STAGE
their excitement were worse than the men, and they became
so exhausted by their violence that they often lay on the floor
as if dead. But to return to the New Sans Pareil in Great
Charlotte Street.
The opening performance took place on Monday, Nov-
ember 26, 1832, when Eugene Aram, Damon and Pythias,
and Wallace, The Hero of Scotland, were submitted. During
the recess the theatre was fitted with boxes (is. 6d.), pit (is),
and gallery (6d.) Cartlich was the acting manager. He
was succeeded by Mr. Charles Leclerq, who was for many
years favourably known in dramatic circles as a skilful ballet-
master, pantomimist, and stage manager. He was father
of the accomplished Carlotta and Rose Leclerq, the latter
of whom was bom in Liverpool. Monsieur Leclerq was
a little stout man, while Madame was tall and stately with
prononce features.
In the early 'forties T. C. King, the afterwards celebrated
tragedian, played leading parts for i8s. per week. He was
then about eighteen, and Mr. HoUoway took a liking to this
painstaking young actor. Whatever the reason. King
was not a favourite with the patrons of the Sans Pareil.
Towards the conclusion of the season Mr. Holloway offered
him the increased terms of 25s. weekly to return, but King
dechned with thanks.
Holloway was astounded at what he termed the foolish-
ness of refusing such an offer, especially as yoimg King had
just taken imto himself, or was about to take, a wife. He
asked for an explanation. ' Well, sir,' repUed Tom, ' the fact
is I don't hke your audience, and, what's more, they don't
like me.' ' Nonsense ! ' exclaimed Holloway, ' you come
back next year, and you will prove a big favourite. You'll
have another audience altogether, as by that time all these
beggars will be either hung or transported ! '
It is highly probable that some of the patrons of the Sans
Pareil had, more than once, seen the inside of a prison. The
Government enquiry into juvenile delinquency in Liverpool
showed as much. In fact the proportion of male juveniles
to the whole number of male prisoners committed to the
Liverpool Borough Gaol was four per cent, more than the
average proportion in the six metropolitan prisons. In the
ANNAI.S OF THE I.IVERPOOI. STAGE 219
course of his enqiiiry, the Inspector from the Home Office
examined 91 boys of various ages who were then incarcerated
in the Liverpool Borough Gaol. From his report I cull the
following : — ' Perhaps in no other town in the United Kingdom
has the demorahsing influence of low theatres and amusements
upon children been so decidedly experienced as at Liverpool.
The number of children frequenting the Sans Pareil, the Liver,
and other theatres of a still lower description is almost incred-
ible. The streets in front, and the avenues leading to them,
may be seen on the nights of performances, occupied by crowds
of boys, who have not been able to possess themselves of the
few pence required for admission.'
In order to obtain the necessary admission money the boys
stole from their parents and others. The Sans Pareil and
Liver were not their only favourite resorts, as they bestowed
their patronage upon the Royal, the Amphi', and the Queen's,
as well as upon the Penny Hop, in Hood Street, and the
shows opposite the present Custom House.*
One youth in the Borough Gaol deposed that he ' first
met with bad companions at the Sans Pareil. The first thing
I did at the Sans Pareil was when the place was loosing ; we
used to put our hands over the rails when the people were
going down stairs, and take off shawls, hats, or anything else ;
the people that had lost them covild not get back, the crowd
was so strong. If the hat was a good one, we used to put our
own inside, and put it on our heads ; we also used to creep
under the seats ; strangers would have their pockets hanging
down (men or women), we used to cut them off sometimes.
I have foimd bottles with liquor in them, copper, oranges,
and other things ; in the women's we sometimes found purses.
]My father has often said those cursed places have been my
ruin.'t
In the ' Liverpool Mercury ' for April 7, 1843, HoUoway
announced that * after 15 Successftil Seasons in this EstabUsh-
ment, and three previous in another part of the town
• These shows were located on the site of the Old Custom House in Canning Place.
An advertisement in the 'Liverpool Mercmy,' (January 17, 1840), stated that there
could be seen alive, ' A Child without either Ivegs or Arms ; also his Wonderful Brother,
with Two Heads, Four Hands, and Three I<egs — natives of Hertfordshire. A Colt with
only One Eye in the middle of its Forehead. Also the Hampshire Pig, with Two Heads,
Three Eyes, Two Mouths, and Three sets of Teeth, with a Wonderful Crown on its Head.'
t Parliamentary Papers, 1852, Vol. VII.
220 ANNALS OF THE LIVERPOOL STAGE
In consequence of New Streets' Improvements, he relinquishes
the present Building after this week, as it is to be taken
down.' And so ended the career of the Sans Pareil.
THE AMPHITHEATRE AND THE ROYAL COURT.
In 1824, a sewer burst under the Olympic Circus, in
Christian Street, causing the foundations to become insecure
and necessitating expensive alterations. The financial res-
ponsibility for the repairs bred a quarrel between Mr. John
Cooke and the proprietors of the Olympic. The former per-
sonally decided to start an opposition circus of his own, and
cast about him for a suitable site.
On Thursday, February 10, 1825, Mr. Cooke, through
the medimn of ' Gore's General Advertiser ' informed the
inhabitants * that he had purchased all that piece or parcel
of land situate in Gt. Charlotte Street and Roe Street, in
or near Queen Square, for the erection of a New Olympic
Circus ; the present one in Christian Street not being large
enough for the very magnificent spectacles Mr, Cooke has
in contemplation to produce in future.' The land purchased
by Cooke is stated to have belonged to a Mr. John Leigh,
whose residence was situated thereabouts. Great Charlotte
Street which takes its name from George the Third's consort,
was not laid out until about 1785, about which period Queen
Square was projected. It was not, however, until about
1796 that Great Charlotte Street was actually made a
thoroughfare.
The first stone of the new building, which was built by
subscription, was laid on November 27, 1825, and in the short
space of three months * Cooke's New Circus,' as it was
styled, was ready for opening. In dealing with the initial
performance on Monday, February 27, 1826, the ' Liverpool
Mercury,' for March 3, says : — ' This place of amusement,
the rapid erection of which under no very favourable auspices
has astonished everyone, opened with great eclat on Monday
evening. WTien completed, for as yet, it is only partially
decorated, and altogether in a very imfinished state, it will
be a credit to the town, and a lasting monument to Mr. Cooke's
ANN.\LS OF THE LI\^RPOOL STAGE 221
persevering industry. It is very spacious, much larger, in-
deed, than the Theatre Royal, and exhibits even now indica-
tions of ultimately ranking amongst the most elegant theatres
in the kingdom. The enthusiasm of the audience on this,
to the proprietor, truly gratifying occasion, exceeded all
botmds. Scarcely were the members of the orchestra (which
by the way, is very numerous and efficient), seated to play
' God save the King, ' when the whole house arose simultaneously
in cheers, long and loud, which were repeated at intervals
during the evening ; particularly as the splendid scenery,
incidental to Timour the Tartar, presented itself. An address
was delivered by the stage manager, Mr. M'Gibbon, which, as
well as the speaker, was warmly applauded. He read, also,
the certificate of three eminent surveyors, appointed by the
^layor to examine the strength of the building, from whose
report it would seem, that, in the erection of his theatre, Mr.
Cooke had not been less mindful of its stability than of its
splendour.' The prices of admission ranged from 3s. 6d. to is.
Opposite the stage-door in Rose Street, on a spot now
covered by the north-end of the premises occupied by Messrs.
Ryland and Sons, Limited, was once situated the ancient
Fall-well. To this well ' Ye whole towne in generell,' says
Sir Edward Moore in his ' Rental ' (1667), had to send * for
each drope of water (to) wase with, or boule pease.'*
The Circus had not long been opened when the lessees
of the Royal prosecuted Cooke for performing a stage-play,
Rob Roy, to wit, without a license. Despite this, dramatic
and equestrian performances became the staple attraction.
Diddear and Elton appeared here in March, 1827, as Tom and
Logic in the very successful play of Tom and Jerry. On
April 6 following, Cooke took a ' bespeak ' when Herring
played Paul Pry in Paul Pry at Dover. The same month
saw performed Harlequin and the Magic Punch Bowl ; or, the
Fairy Revels. Ellar, a prince among harlequins, was the
spangled hero, and Signor Paulo, clown. The burletta an-
nounced for EUar's benefit was prohibited by the lessees
of the Roj-al, as it was an infringement of their rights and
• ' When the well was filled up (about the year 1790), the water was diverted to the
residence of William Roe (after whom Roe Street was called), the site of which is
now occupied by the Stork Hotel in Queen Square.' Vide Herdman's ' Pictorial Relics
of Ancient Liverpool.' During some recent alterations at the Royal Court Theatre the
situation of the old well was laid bare.
222 ANNAI.S OF THE LIVERPOOI. STAGE
privileges. Batty, of equestrian celebrity, came in October.
Towards the close of the year the Circus was leased by Messrs.
Wyatt and Farrell. It was then called ' Cooke's Royal
Amphitheatre.'
In January and February, 1828, a curiously entitled
entertainment, Striking Characters ; or, A Hit if it Pleases,
was submitted. In it, Dick Cortes ' the pet of the fancy,'
Young Dutch Sam, Jem Ward, the champion of England, and
Stockman were announced to give pugilistic exhibitions.
Paul Jones followed. On May 2, 1828, John Cooke, * the late
proprietor and manager,' took a benefit.
Andrew Ducrow opened the Amphitheatre on Decem-
ber 26, 1828, with a dramatic and equestrian company. He
had the theatre again in 1829 and 1830.
The author of ' Stage Reminiscences by an Old Stager '*
gives some interesting particulars of Ducrow's visit to Liver-
pool in 1829. The writer of the little book referred to was
a clever stage machinist, formerly in the employ of Ducrow,
and also with Madame Vestris at the Olympic in London.
' I have already mentioned,' he tells us, ' that he (Du-
crow) acquired a lease of the Amphitheatre at Liverpool ;
and about the middle of November, when we were playing at
Newcastle-upon-Tyne, I was despatched to the former town
to prepare the house for opening on Boxing Night. The
managers of the Theatre Royal there, Messrs. Lewis and Banks,
were aware of our intention, and had made up their minds to
hurt our business, if possible. Accordingly, when I arrived
in Liverpool, I found the dead walls of the city covered with
posters annoimcing the forthcoming appearance of a then
fashionable " star," no other than the celebrated trained ele-
phant of Siam, " Mdlle. Dejeek," as she was called. This pon-
derous performer had been introduced to the London public
by Yates at the Adelphi, and it was now announced that she
would make her first bow to a Liverpool audience on Easter
Monday evening, in a piece prepared for her. I at once de-
termined to apprise the governor of the pachydermatous
opposition with which we were threatened. Before writing
to him, however, I discovered that Wombwell was in the
towTi with his menagerie, that the latter included a perform-
ing elephant, and that business was very queer with old Jerry.
• Glasgow : James Hedderwick and Sons (1866), p. 153.
ANNALS OF THE LIVERPOOL STAGE 223
Putting this and that together, I had gHmmerings of a plan
to forestall our opponents, and I communicated the idea to
Ducrow, asking him at the same time to come over himself,
as soon as possible, and take stock of the position on the spot.
With characteristic promptitude he came to Liverpool by the
first mail after receiving my letter, and we at once had an
interview with old Wombwell. The upshot was that, business
being so bad with him, Jerr>' agreed to let Ducrow have the
loan of every animal in his collection if he liked, on the latter's
own terms. This bargain having been struck, Andrew turned
to me, and, rubbing his hands, remarked that no pair of Eng-
lishmen living should beat him if he knew it ; he would shew
them what Andrew, the tight-rope boy from the old Circus*
could do, now he was a manager. " You go to London to-
night " he added, " get tw^o of the best scene painters you can
find, and bring them dowm with you by the first mail. Tell
the tailor and the property-man to send everj'thing Eastern
in the house — go to Fairbrother's (the printer) and tell him
to send down 1,000 of the four-sheet elephant posters — and
there's fifty pounds for you till we meet next week ! "
' That night I left by the mail for London, and next day
was fortunate enough to get through my commissions so ex-
peditiously that I was able to start for Liverpool in the evening,
having managed to secure as an artist the celebrated Mr.
Danson, the very man whom I knew the governor would be
best pleased at having. Mr. Danson brought down his own
assistant with him as second hand, and between the two they
soon covered the canvas in a manner in every way satisfactory.
In the other departments the work was pushed forward with
equal vigour, a good dramatic company was engaged to support
Wombell's lot, and on Boxing Night (?) we produced the
Grand Eastern Spectacle, entitled The Elephant of Siam, thus,
to their intense disgust, having the start of the Theatre Royal
folks by nearly three months (?). The piece was a triumphant
success, and we played it three times a day during the Christ-
mas hoUdays, and twice a day for a month afterwards. So
great was the hit made, that offers of engagements came pour-
ing in on every hand, and the result was that we made a tour
of the three kingdoms with it. Thus Andrew took the wind
out of his rivals' sails completely, and when the real Simon
• The Olympic Circus in Christian Street, I<iverpool.
224 ANNAIvS OF THE LIVERPOOIv STAGE
Pure followed (Mdlle. Dejeek), that unfortunate quadruped
was in almost every case a dead failure.'*
In 1830 the Amphitheatre was under the management of
Mr. R. Armistead. The handsome front of the building in Great
Charlotte Street consisted of stucco-work, and was erected
by Mr. Armistead. The exterior comprised three stories,
of which the lowermost one was rusticated. Four Corinthian
pilasters supported the pediment. According to J. G. Under-
hill's MSS.t in the Liverpool Free Library, the Amphi' at that
time was capable of accommodating from 3,000 to 4,ooopersons.
The length of the building was 135 feet by 76 feet wide. The
stage was 51 feet long, and the proscenium opening 41I feet.
' The front of the three tiers of boxes and galleries,' says
Underhill, ' presents to the eye a prevailing mass of crimson
grovmd enriched with burnished gold mouldings and orna-
ments. A large and splendid movable gas chandelier sus-
pended from the ceiling and numerous subsidiary ones ranged
round the front of the boxes, serve to shed over the whole of
the place, the glow and radiance of an Oriental palace. During
one part of the evening's performance, while the various dis-
plays of horsemanship were exhibited in the circle, the whole
opening of the proscenium is occupied by an admirably execut-
ed representation of the Death of Nelson, on the deck of the
" Victor>%" painted as a large picture in a gigantic gilt frame,
richly ornamented with emblematical devices. The passages
and entrances are judiciously contrived, and the avenue
leading to the boxes is adorned with busts, paintings, and other
appropriate ornaments. The extensive stabling required
for the accommodation of the large stud of horses is ingeniously
formed under the side wings of the stage.'
PJ On December 27, 1830, Ducrow presented Harlequin and
Tom Moody. Montgomery- was harlequin, and Tom and
George Ridgvv^ay clown and pantaloon, respectively. Mons.
Leclerq was the stage manager. On January 3, 1831,
Ducrow aimounced ' that the very flattering reception ex-
perienced by himself and the whole of the company on Monday
night will stimulate him to added endeavours to contribute
• According to the advertisements The Royal Elephant of Siam was first performed at
the Amphi' about the second week in February, 1830, while the Elephant of Siam
was not produced at the Theatre Roj'al until June 14, 1830.
t Mr. Underhill was a bookseller and stationer in the I,ondon Road. He died in 1835.
ANNALS OF THE LIVERPOOL STAGE 225
to'^the comfort and convenience of the public. A new stove
is placed at the back of the pit, and additional curtains to
exclude the draught of air. The box passages will be carpeted,
and every possible effort to render the Amphitheatre unequal-
led in its accommodation.'
A laughable incident occurred at the period of one of
Ducrow's visits to the Amphi'. At the Theatre Royal, while
the circus was in full swing, a learned scientist was nightly
lecturing on the starry firmament, with pictorial illustrations.
On one evening, when the professor was dwelUng on the
beauties of the heavens there came into the pit a group of
sailors, who sat for some time patiently enough, but they
soon made it evident they had visited the wrong theatre,
for one of them got on to his legs, and addressing the
astonished astronomer, said : ' Look here, mister, we've had
enough of this 'ere stuff ; take your d stars away, and
bring out the blooming horses.'
On October 31, 1831, Signor de Begnis and his ItaUan
Opera Company were here. Their principal production was
Othello. The visit did not prove a financial success. De
Begnis was a fine harpist. Although deeply pitted with
small-pox, he was a great favourite with the ladies.
Mr. Davidge, proprietor of the Royal Coburg T'heatre,
London, opened the theatre on November 5, 1832. Watkins
Burroughs was the stage-manager.
Early in 1833 Batty's Equestrian Company commenced
an engagement. In the company was Mr. Hengler, who not
only acted as director of the circle but also performed on the
tight-rope. February 4 saw Pierce Egan, the author, as Bob
Logic in his own Tom and Jerry.
On May 5 and 6, 1834, Paganini fulfilled an engagement.
On October 13 of that year Batty re-opened the theatre. It
was advertised that ' backs have be^ added to the seats in
the pit, the interior redecorated, and to the elegant chandelier
has been added a number of brilliant gas jets.'
In February, 1835, Batty's company presented Joan of
Arc ; or, the Maid of Orleans. The titular part was played
by the afterwards famous Mrs. Stirling, whose husband, Edward
Stirling was the stage manager of the theatre. Few, if any , could
approach Mrs. Stirling in comedy ; for she combined every
quahfication to produce a matchless embodiment of the piquant.
226 ANNALS OF THE LIVERPOOL STAGE
the high-bred, and the witty heroines of old comedy. She
was about nineteen when she played at the Amphi'.
The theatre re-opened under the management of Mr. R.
Armistead on December 21, 1835. Edward Stirling was still
the stage manager. Ducrow came in January, 1837 ; and
in April of that year Mr. Bates was proprietor. On September
29, Madame Pasta took her farewell of the Amphi' patrons.
For the benefit of Mr Hughes, manager of the equestrian
department, the spectacle entitled Queen Elizabeth ; or,
The Princely Sports of Kenilworth Castle was brought out
on November 19, 1838. ]\Ir. Hengler played the Earl of Essex.
Master and Miss Hengler and Master and Miss Ginnett also
took part. Corry and Blanchard, with their performing dogs,
were here in June, 1839, ^^<i J^"^ Ward was annoimced to
' set to,' for the last time in public, with Mat Robinson, Peter
Taylor, and Tom Watson.
In the first week in February, 1840, T. D. Rice, the cele-
brated negro comedian, performed as Jumbo Jum in the piece
of that name. He also gave his renowned ' Jump, Jim Crow '
song and dance, together with ' Sich a-gettin up Stairs.' How
the song ' Jump, Jim Crow ' came to be introduced is told in
* Theatrical Anecdotes.' Rice was an actor in a Western Amer-
ican theatre, and in a new piece that was about to be brought
forward he was persuaded to enact the character of an old
negro, much against his will. He consented only under the
stipulation that he should have permission to introduce a
negro song of his own. Rice had seen a very droll negro
ostler, who used to dance grotesquely, and sing odd fragments
of a song about one Jim Crow. He easily contrived to throw
together a few verses with witty local allusions, and to height-
en the extravagance of the dance to its greatest extent of
grotesque absurdity. The new play proved a failure, but
* Jim Crow ' emerged triumphant to delight Europe and
America.
Early in 1840 the establishment was known as Ducrow' s
Royal Amphitheatre of Arts. Towards the end of the year
it was simply called the Royal Amphitheatre. Mr. Egerton
(late of the Queen's, ^Manchester) opened the theatre on Mon-
day, November 16, 1840, with a varied bill comprising the
spectacle, Jane of the Hatchet; or, the Woman of Beauvais,
the burletta, The Railroad Station, and the extravaganza, Don
ANNALS OF THE IvIVERPOOL STAGE 227
Giovanni ; or, a Spectre on Horseback. The principal perfor-
mers were W. J. Hammond and Miss Daly. Carter was here
with his Uons and other animals in December.
In January, 1841, Gomersall gave his famous por-
trayal of Napoleon in The Life and Death of Napoleon. In
appearance Gomersall was the exact counterpart of ' the
little Corporal.' Ducrow was here in Januarj^ 1842. In
April of that year the establishment was known as the Amer-
ican Circus. The lyiverpool Temperance Dramatic Associa-
tion took the theatre in 1842 for the exploitation of temperance
dramas. They also had it the following year for a similar
purpose. Mrs. Stebbing was the lessee in 1843 ; and in the
autumn of that year William Robert Copeland commenced
his memorable reign.
On February 19, 1844, Copeland revived Richard III,
with himself and Watkins Burroughs in leading roles. The
tragedy of Antigone was played on June 23, 1845. On Sep-
tember 6, the pantomimic spectacle, Don Juan, was produced
by Howard Payne, his wife playing the principal part.
Payne, the quondam American Roscius, is credited with the
authorship of ' Home, Sweet Home.' The song was first
sung in his melodrama, Clari, the Maid of Milan.
That fine tragic actor, James Bennett, gave a noble im-
personation of Macbeth in May, 1846. On November 23,
1846, Henry Betty (son of the Young Roscius), made his first
appearance in Liverpool in playing Macbeth. He was also
very successful in King Lear ; and had a good engagement.
The pantomime of Harlequin Tee-to-Tttm ; or, the Fairy of
the Silver Stream and the Demon of the Golden Mine was pro-
duced on January i, 1847. The spectacle. The Campaign of the
Punjab, was also in the bill. On January 11, a man fell
from the gallery into the pit, a height of 29 feet 6 inches, but
without sustaining any very serious injur}'. A French eques-
trian company was here in December. On April 10, 1848,
Jullien's orchestra commenced an engagement. Then came
Charlotte Cushman to play Meg Merrilies {Guy Mannering),
Wolsey [Henry VIII), and the Stranger in the drama of that
name. W. J. Hammond was Miss Cushman's principal support.
The performance on June 5 was in aid of the fund for a per-
petual curatorship of Shakespeare's house. The plays sub-
mitted were The Merry Wives of Windsor, and Love, Law, and
228 ANNALS OF THE LIVERPOOL STAGE
Physic. In the former piece were Mark Lemon (Falstaff) , Charles
Dickens (Swallow), John Leech (Slender), G. H. Lewes (Sir
Hugh Evans), George Cmikshank (Pistol), and EmmeUne
Montague (Mrs. Ford). The receipts amounted to ;f45i 5s.
6d. On June 12, W. J. Hammond took a farewell benefit
and spoke an address. On August 24, the Brothers Brough
(William and Robert) played in Box and Cox and Twelfth
Night. On December 26, The Mountaineers was followed
by the pantomime of Mother Goose ; or, Harlequin and
the Golden Egg.
Jenny Lind was here on January 6, 1849, ^^^ g^^e her
services free of charge. The performance was in aid of
the Southern and Toxteth Hospital. J. R. Anderson
played Othello to Mrs. W. R. Copeland's Desdemona on Jan-
uary 22. Coriolanus was also performed that week. Com-
mencing February 2, a series of operatic performances were
given, including Fra Diavolo, Maritana and The Bohemian Girl.
In May and June the principal visitors were G. H. Lewes,*
Mr. and ^Nlrs. Sloan, and T. P. Cooke. On July 27, 1849,
Barry Sullivan, the afterwards eminent tragedian, pla^^ed in
The Lady of Lyons, as did also Basil Baker, who was always a
favourite locally. In September Buckstone and Mrs. Fitz-
william came on a visit.
Easter Monday, 1850, witnessed performances by Barry
Sullivan and J. F. Cathcart. Ballets were given nightly
at this precise period. On July i, J. R. Anderson commenced
an engagement of twenty-four nights. ' Here I found,' he
tells us in ' An Actor's Life,'t ' my old friends Cathcart and
Basil Baker — both very good actors — who had been with me
at Drury Lane. There was also Barry Sullivan, an immense
local favourite, and I believe most deservedly so, though to
my mind he fell short, in comparison with James Bennett,
in his rendition of lago. At this time there was an opera
company at the Theatre Royal, with Messrs. William Harrison,
Weiss, and Corri ; Louisa Pyne, Mrs. Weiss, etc., at the head
of it, playing to empty benches ; so that we did not consider
this much of an opposition. Poor Harrison told me, with
tears in his eyes, that he had been losing money heavily.
• The cdebrated dramatic critic, a descendant of Charles I,ee Lewes, the comedian.
He was seen here as Shylock.
t Pp. 184-5.
ANNALS OF THE I^IVERPOOIv STAGE 229
He had given an entirely new opera on his own benefit night
to ;(i8 I After that " he put up the shutters ! "
' When I had run through my Shakespearian plays, I
resolved on the production of Schiller's Fiesco, notwithstand-
ing its partial failure at Drury Lane. It was better Uked in
Liverpool than in London, and drew fine houses.
* I myself had made an adaptation of this play in prose
before giving it in the metropoHs, but, deeming it better policy
to employ an author of recognised reputation for the task, I
gave Mr. Planche my MS., together with one hundred guineas,
as a remuneration for smothering the play in heavy blank
verse. The weight of the poetry, and the want of punctuality
of my painters, who failed to be ready with the scene for the
last act, together with the unfortunate title of the play, which
the facetious critics would insist on calling " Fiasco," were the
main causes of its non-success in London. Of this I had
proof positive ; for when I relinquished Planche's poetr>' for
my own puny prose, the play was everywhere successful, and
afterwards I made lots of money by it, in England and the
States, under the title of The Republican Duke.'
In May, 1850, David Prince IMiller was in Liverpool.
Shortly after he had appeared in his entertainment, ' Never
Despair ; or, the Ups and Downs of Life ' at the Concert Hall
in Lord Nelson Street, Copeland gave him a benefit. ' Upon
my benefit,' he tells us,* 'I made an appearance as General
Damas in Bulwer's p'ay of The Lady of Lyons. The good
nature of the audience lestrained their remarks, but I must
have cut a most ludicrous figure. I am, unfortunately, much
above the average size of men, being tv\'ent>'-two stone in
weight, and in figure something hke a walking butt of beer,
and it was with great difficulty the costumier could supply me
with the required military suit ; at length this was accom-
phshed, somehow, but I know I must have looked the most
scarecrow looking general that ever made an appearance
upon real or mimic field ; and in the scene after Damas is
supposed to be promoted to a general, where he and poor
Claude Melnotte meet — the latter in a most pensive mood —
Mr. Barry Sullivan (who was pla>dng Claude Melnotte), when
he saw the comic figure I cut, laughed outright, and enough to
* ' The I,ife of a Showman," p. 155.
230 ANNALS OF THE LI\^RPOOIv STAGE
make him. My cocked hat was too Httle for me — my coat
was too big. The audience also had a hearty roar. I looked
at them and at myself, as much as to say, I well know what
you are laughing at — and the laugh was followed by a round of
applause.'
On May 19, 1851, Barry Sullivan made his first local ap-
pearance as Sir Giles Overreach. On May 30, young Mr.
Hengler played a dramatic character for the first time, and
was audacious enough to begin with Hamlet. G. V. Brooke
performed on June 6, and Samuel Phelps came ten days later.
Commencing July 21, the leading members of the company
were John Vandenhoff, Barry Sullivan, and Miss Vandenhoff.
Celeste and Webster performed on September 25 and 26 ; and
the following month saw Mrs. Stirling, Mrs. Fitzwilliam and
J. B. Buckstone here. Kate and Ellen Bateman, ' the great
wonders of the age,' made their Liverpool debut on Novem-
ber 17. They were then eight and six years old respectively,
and were seen in The Young Couple, The Swiss Cottage,
Macbeth, and The Merchant of Venice. The sisters returned
here on Jime 4, 1852.
On September 3, 1852, the concluding item of the even-
ing was the Haymarket farce, Keeley Worried by Buckstone,
which was called here Baker Worried by Buckstone. ' Baker
by himself, Buckstone by himself.' On October 15, Off to
the Diggings, a one-act play by G. J. H. Nightingale was
produced. Mr. Nightingale was a member of the Liverpool
Literary and Dramatic Society, and one of the authors of
' Bloomerism.' Charles Dillon (from the Queen's Theatre,
Dublin), appeared on October 25, and made a great hit as
Belphegor.
The famous Pyne and Harrison Operatic Company com-
menced an engagement on November i, and towards the
middle of the following month the American tragedian,
McKean Buchanan, came for five nights.
George Vandenhoff arrived in Liverpool, from America,
on February 6, 1853, after an absence of eleven years.
Immediately upon his arrival Copeland made known to him
his intention to produce Henry V. Copeland had prepared
new scenery and appointments for the piece, which he
designed to produce Avith great care, and at a considerable
expense. Vandenhofi agreed to Copeland's terms for a five
ANNALS OF THE IvIVERPOOL STAGE 231
weeks' engagement, and arranged to play Hamlet on Monday,
March 28, 1853. Copeland asked Vandenhoff how he would
like to be billed, whether it would be as the ' eminent tragedian,'
or the ' distinguished tragedian,' or the ' classical tragedian,'
or the ' highly -popular tragedian,' or the ' Shakesperian trag-
edian.' Vandenhoff said ' None ; simply annoimce that Mr.
Vandenhoff will make his first appearance in Hamlet ; and
let the audience find out what degree I am entitled to in the
Dramatic College.' The modesty of this answer seemed to
please the manager.*
Following the production of Hamlet, Vandenhoff appeared
during the week as Shylock, Claude Melnotte, and the Stranger.
Uniformly good houses prevailed. On April 4, Henry V was
revived with great care and attention to scenery, costume,
and appointments. George Vandenhoff played the titular part
for the first time. The play ran twenty-three successive nights
to excellent houses ; ' though,' mentions Vandenhoff, ' I
believe, they scarcely paid for the extraordinar>' expenses
incurred by Mr. Copeland in his production of the piece —
another proof that Shakespearian revivals, when got up
with new and appropriate scenery and appointments, never
remunerate the management.'
A little incident happened to George Vandenhoff during
this engagement. ' I walked,' he tells us t ' into a well-known
establishment called " The Crooked Billet ;"t and, finding the
large dining room full, I entered a little side room, where I
found a plainly dressed country tradesman, as he appeared,
waiting for his dinner. I ordered mine ; and, after a few
minutes, he said to the girl who waited — in a tolerably strong
Lancashire accent — " Come, come, lass ; make haste! time's
munney (money)." Then, turning to me, he added, "Isn't
it, sir ? " Now it was the breathing time of day with me, and
I answered, " To you it may be : I'm sorry to say it is not
so with me."
'" Ha," said he, after taking my measure with his eye
" I dare say you don't tnihhle youself wi' business mooch."
' " Why ? " I answered, " what would you take me to be ? "
' " Oh," said he, " I should take you to be aboov all
business ; not to need it, I mean."
• ' An Actor's Note Book,' (edit. 1865), p. 232." t Vide ibid, pp.1234-5.
X Then in Exchange Street East.
232 ANNAI^ OF THE UVERPOOI. STAGE
'To give him a surprise, and see how he would take it, I
replied : " How wrong you are, I am an actor."
' " Are you ?" said he ; " then " (slapping his hand on his
thigh) " I can tell you who you are. You are George Vanden-
hoff."
' " How do you know ? "
* " By the voice. I saw you play Henry the Fifth t'other
night, and mightily pleased I was."
' " Well," said I, "are you surprised to find that I'm an
actor, instead of a man of fortune, which you took me for ? "
' " Not a bit," he answered ; " you might as well be one as
t'other ; and," he added, " I don't know that anyone can do
more than look like a gentleman, and behave like one, whether
he has a fortune or not." '
Josh Silsbee, the American comedian, performed on June
6, and J. R. Anderson, the tragedian, came seven nights later.
The charming and talented danseuse, Rosina Wright, whom
ever>^body loved, appeared on July 4. She was engaged for
the season and gave great pleasure in the grand ballets
produced.
Copeland always kept an efficient staff of ballet ladies
and pantomimists. The two Misses Goodall were members
of the dancing corps, and they as well as many others have
to thank poor Copeland for their success in life. If a man
or woman showed promise he gave them every opportunity
of coming to the front. The stock pantomimists were the
well-known Lauris, and the family at that time included
Charles, Ted, Harry, John, Fanny, and Fred. Charles was the
stock pantaloon, and Fred one of the best of clowns.
Copeland kept the troupe in constant employment all the
year round, supplementing his weekly dramatic productions
with a comic ballet, ballet pantomime, or grand ballet d' action.
T. Lenton, whose speciality was ceiling-walking, came in
July. WHien Cato was submitted on July 30, George and
Henry Vandenhoff were in the cast. On October 3, Fred
Wright, the clever comedian, made his first appearance in
Liverpool. He was at that time billed as from the
Theatre Royal, Adelphi, London. On the occasion of Henry
Loraine's benefit (November 22), Fred Maccabe of ' Begone,
Dull Care ' fame, presided at the pianoforte.
ANNALS OF THE LI\^RPOOIv STAGE 233
Barry Siillivan performed in August, and G. V. Brooke
in November, 1854. On August 27, 1855, the English Opera
' Company was here, and had Herr Meyer Lutz as conductor.
Mr. Webster and Madame Celeste commenced an engagement
on September 8, 1856. On the occasion of Madame Celeste's
benefit (September 12), an attempt was made by a drunken
carpenter named John Ball to blow up the theatre. Ball,
it appears, had cut away a large portion of the gas-piping
beneath the stage, and had not a prompt discovery taken place,
a large volume of gas would have ignited, and the building
would, doubtless, have been burnt to the groimd. Ball was
committed to the assizes, but at the hearing in December,
hejwas discharged with a caution.
On September 22, 1856, Henry Loraine gave the first of
his farewell performances previous to his departure for the
United States. Before he left England his friends entertained
him at a public dinner at Whiteman's New Brunswick
Hotel, in Clayton Square, and presented him with a tes-
timonial. Mr. and Mrs. Barney Williams appeared on Nov-
ember 3, for the first time before the Liverpool public. Their
engagement extended over three weeks, and the house was
crowded nightly. In November, Sims Reeves was announced
to appear in Guy Mannering and The Bohemian Girl, the
latter to be conducted by Balfe the composer. Reeves, how-
ever, did not appear, as he was lying ill in Dublin. Commen-
cing December 3, Professor Anderson played Rob Roy for
three nights. He was succeeded by Barry Sullivan, who
played Falstaflf in Henry IV for his benefit on the 12th.
On May 25, 1857, T. C. King played Hamlet. On
May II, 1858, John Vandenhoff celebrated the fiftieth anni-
versary of his appearance on the stage. During the same
year William Henry Rignold performed ' general utility '
parts here. He had previously been a violinist in theatre
orchestras. During the week commencing November 8, 1858,
J. B. Buckstone and Miss Jane Reynolds appeared in The
Way to Keep Him and The Husband of an Hour. Miss
Reynolds was at that time leading actress at the Haymarket,
London, where under Buckstone's management she was seen
in the majority of the productions there. In 1887 she
married Sir Henry Hawkins, afterwards Lord Brampton, and
died twenty years later at a ripe old age. She survived her
234 ANNAI.S OF THE LI\^RPOOL STAGE
husband only by six weeks, but inherited the bulk of the
deceased judge's fortime, which was proved at ;^i4i,674.
She was possessed of very considerable means in her own
right, and was a ver>^ charitable woman, particularly to the
Church of her adoption — she was a devout Roman Catholic —
and to any deserving theatrical cause which was brought to
her notice.
In Januar}^ 1859. Copeland entered into an arrange-
ment with Elliott Galer for the purpose of establishing an
English Opera season. The principal artistes included Fanny
Reeves, Madame M. Bishop, Charles Lyall, and E. Corri. Herr
Meyer I.utz was the conductor. Martha was performed
for the first time in Liverpool on January 10 ; and on February
14, Meyer Lutz's romantic opera, Zaida ; or, the Pearl of
Granada. Seven days later Lady Don, who was accompanied
by her husband, Sir William Don, made her first appearance
in Liverpool.
In 1859, Henry Neville was a member of the stock com-
pany. Another gifted player, J. C. Cowper, was also here.
It was in Liverpool that Cowper first acted Virginius, a
character in which he was generally considered to excel.
His clever and finished impersonation of Badger in The Streets
of Liverpool was also greatly admired by local playgoers.
Some of his most popular characters at this period were Hamlet,
Richard III, Macbeth, lachimo, Ingomar, lago, Henri de
Lagadere, Tullus Aufidius in Coriolantis, and Paragon, in the
farce of Perfection. He also acted with success as Ion in Tal-
fourd's play of that name, and as the Dei Franchi in The
Corsican Brothers. This fine range of parts proved him a most
versatile actor. He was equally at home in light comedy
characters as in romantic lovers, and his tragic powers were
by no means to be despised. It is interesting to note that
when acting with Barry Sullivan he alternated the characters
of Othello and lago.
The following is a curious instance of Cowper's presence
of mind. He was acting Richard one night at the Theatre
Royal to the Richmond of John Warner (son of the cele-
brated Mrs. Warner), who insisted on wearing and using a
cavalry sword \\ith a sharp point. In the last act Warner
struck Cowper a terrible blow on the right temple, the sword
descending and cutting the cartilage of his nose. WTien
ANNALS OF THE LIVERPOOL STAGE 235
Cowper was picked up his face was bathed in blood, but thanks
to his firmness and presence of mind, the audience remained
vmaware of the accident.
The theatre was closed on Jime 27, 1859, for structural
alterations, and the company migrated to the Royal, where
Amphi' prices ruled for the time being. The theatre re-opened
on August 22. During the recess a new stage had been laid,
the pit reconstructed, and the gallery enlarged so as to hold
one thousand persons. On November 28, Miss Marriott played
Hamlet for the first time in Liverpool.
About i860, J. G. Swanton was a member of the Amphi'
stock company. He shone best in the performance of heavy
characters ; and in later life his Jacob McClosky in The
Octoroon was a most finished and consistent assumption. For
many years he was one of the principal members of J. F.
Warden's stock company at Belfast. After the decUne of
the stock system Swanton retired and opened a hostelry in
Belfast. He died in 1886.
During the time Swanton was a member of the Amphi'
stock company, Madame Celeste visited the theatre. Swan-
ton informed my friend, Mr. W. J. Lawrence, that he ' remem-
bered seeing Celeste one night as Harlequin a la Watteau in
a pantomime, which had been played initially at the London
Adelphi under her own management. She was supported in
the harlequinade by the Lauris. She dressed the character
thoroughly a la Watteau, with powdered wig, three-cornered
hat, the half-mask, etc. He thought he never saw anything
more graceful. It was the very poetry of motion.
' Some time after Celeste had paid that visit to the Amphi','
said Swanton, ' a member of the stock company called
McCart took his annual benefit, and his wife (whose stage name
was MacGregor), played Harlequin a la Watteau. I was in the
house that night, andwas inclined to feel bored beforethe curtain
went up in anticipation of what I considered would be a very
poor imitation. When Miss MacGregor bounded on the stage
I gave a start of surprise, an action which tapered off into
an ejaculation when the graceful danseiise had executed several
steps and poses. " Surely ! " said I, looking at the bill again
and again, ' ' there must be a mistake somewhere. That face,
that figure, that graceful airiness — it must be Celeste ! " All
through that memorable performance I sat as one entranced.
236 ANNALS OF THE LIVERPOOL STAGE
in a dilemma of delight. I had expected so little and gotten
so much. The surprise was terrible. I forgot to tell you that
Miss MacGregor was Mr. Copeland's stock Columbine, and I
don't suppose a better one ever executed a trip. The next
morning, or perhaps it was a couple of days after, I happened
to meet McCart, and in the course of our confab, related my
experience regarding his wife's dancing on the benefit night.
The mystery was at once cleared up. "My dear Swanton,"
rephed McCart, "didn't you know that my wife was retained
at the Adelphi for many and many a day as Madame Celeste's
double ? There were times of indisposition, Httle suppers, etc.,
etc., when Mrs. McCart stepped into Madame's shoes and passed
herself off upon Celeste's most ardent admirers as the true
Arabian bird. I don't want to blow, but there must have been a
remarkable similarity of style about the two to cause this de-
ception." I quite agreed with McCart and made a mental
note of the whole matter. That's why I am able to be so
expHcit, although unfortunately I can't go into dates — never
could — they are my abomination.'
' Ben McCormack, the clown, was connected for the best
part of his daj'S with the Amphi'. How he came to play
clown is an interesting story. In those days a drama was
always played before the pantomime, but on ' Children's
Evenings, ' the order was reversed, so as to let the kids home
early. Well, on one of these juvenile nights, Foster, the clown,
failed to turn up in time. He had evidently forgotten about
the arrangement. What was to be done ? No one could find
Foster, and the stage manager ran about distracted. Ben
McCormack, who was the sprite of the pantomime, and had
seen all the comic business rehearsed, offered to play clown.
He was laughed at at first, but upon the audience getting im-
patient, he was allowed to don the motley. One of Foster's
old clown's dresses was found in the wardrobe. He was a
big burly man was Foster, and his togs didn't fit Ben. You
would have split your sides laughing, if you could have seen
them folding and pinning the costume round Ben, with the
hope of making his sHm figure recognisable. At the close of
the panto, came the transformation scene, the old-fashioned
transformation scene, in which the Fairy Queen addressed
herself separately to each character. Well, McCormack had
been thinking what fuimy thing he would say when he
ANNALS OF THE LIVERPOOL STAGE 237
first bounded on. There was a wheeze then current in
Liverpool, " There's always sure to be a row in the house
when you ask for the loan of a bob." Well he came out
with it, and it took immensely. So did his clowning. He
absolutely revelled in the business. But meanwhile a mes-
senger had been despatched for Foster, who on being found,
lost no time in coming to the theatre. He was horrified to
find McCormack doing all his pet business. " Come off, come
off," he whispered to Ben from the wings. "Not me," repUed
Mac, "not while I'm enjoying myself." But Foster was not
to be denied, and went on in the next scene. But that
finished Ben's career as a contortionist. He clowned it next
season, and was popularly hailed by the Liverpudlians. He
then played a couple of seasons at other theatres, at Newcastle-
on-T)me and elsewhere ; and just as he was making a name
fit to carry him to London, he took ill and died.'*
' Lai ' Brough tells a funny story about McCormack in
Routledge's by-gone Christmas Annual called ' The Stage
Door.' ' In Liverpool some few years ago we had a very
popular clown (now, alas ! gone over to the majority),
one Ben McCormack, "a fellow of infinite jest." On the oc-
casion of his benefit he asked Mr. S. M. Harrison, a well-known
local author, to write a speech for him. The speech began
with "Motley is my only wear," etc., etc., and through the
speech the word "motley" occurred very often. After the
benefit, Ben was asked by the author how the speech went.
"First rate, Mr. Harrison," said Ben ; "they hked it very much,
but there was a deuce of a lot about Mr. Motley in it, and not
a word about poor Ben McCormack."'
At that time the clown was the best paid man in the com-
pany. That was why so many first-rate dancers, men better
adapted for other fines, donned the motley. They would have
made excellent harlequins, but there was no money in the
mask and spangles.
Louisa Keeley made her first appearance in Liverpool
on June 25, i860. Barry Sullivan paid a visit in the following
October. On March 11, 1861, he played, for the first time,
the role of Henri Desart in Montague Williams and F. C.
Burnand's drama, A Tale of the Channel Islands ; or, the Isle
* Unpublished memoranda of Mr. W.J. I<awrence, from conversations with the late
J. G. Swanton.
238 ANNALS OF THE IvI\^RPOOIv STAGE
of St. Topaz. April i saw Madame Celeste in her picturesque
impersonation of Miami in The Green Bushes. The Colleen
Bawn was acted for the first time in Liverpool on May 6. Mrs.
John Sloan w^as Eily O'Connor ; John Drew, Myles-na-
Coppaleen ; and Sam Emery, Danny Man. Winifred Emery
(Mrs. Cyril Maude), is a daughter of Sam Emery. The
Christmas pantomime was entitled The Old Woman who Lived
in a Shoe ; or, Harlequin Child of Childwall, and the Choice
Spirits of Dingle Dell.
In Januar>% 1862, G. V. Brooke and Avonia Jones were
here. Their performances were supplemented by the panto-
mime. On February 24, Edwin Booth made his first appear-
ance in Liverpool. He played Hamlet and other roles, and
was engaged for twelve nights. Edmund Falconer's Peep 0'
Day Boys was performed for the first time locally on May 26.
In the cast were Miss Heath, Stanislaus Calhaem, and William
Champion. Oscar Byrne superintended the performances.
In July Miss Cleveland was engaged for leading business. At
that time Fanny and Carlotta Addison were members of the
company. The latter, who was the youngest daughter of
Edward Phillips Addison, comedian, was bom in Liverpool,
in July, 1849. G. V. Brooke came in July and was here for
several weeks. He returned again in October. When The
Relief of Lucknow was presented on November 16, Mrs.
Boucicault played Jessie Brown. Mr. and Mrs. Charles Kean
commenced an engagement on June 8, 1863. G. V. Brooke
and Avonia Jones performed during July and August. On
October 5 The Ticket-of-Leave-M an was played for the first
time in Liverpool. Wybert Rousby was the Robert Brierly.
The Christmas pantomime was Harlequin and the Child of
Hale ; or the King of the Red Noses and the Liver Queen.
On Januar}^ 18, 1864, Kate Saville was seen in her original
part of Miriam in Miriam's Crime. On February 10, The
Poor of Liverpool was given imder the direction of the author.
The Tercentenary of Shakespeare's Anniversary was celebrated
on April 22, by the performance of Hamlet with Miss Marriott
as the young Prince to Miss MilUcent Palmer's Ophelia. The
theatre was thrown open to the pubHc, free of charge, by
the Mayor, Mr. Charles Mozley. The following evening
J. C. Cowper played Macbeth to Kate Saville's Lady
Macbeth. The bard was honoured the following week by
ANNALS OF THE LIVERPOOIv STAGE
239
representations of Macbeth, As You Like It, Romeo and
Juliet, and Much Ado About Nothing. Miss Marriott
appeared in the titular part in The Duchess of Malfi on
May 30. She also was seen during the week as Bianca in The
Italian Wife, and Meg Merrilies in Guy Mannering. Fechter's
company in The Monastery of St. Just was engaged for twelve
nights, commencing August 22. Kate Terry portrayed the
leading female role. On September 9, Mrs. Burkinshaw
(from the Theatre Royal, Dublin), played Orpheus in Orpheus
and Eurydice. Ten days later Henry Neville was seen as
Robert Brierly in The Ticket-of-Leave Man.
On July 24, 1865, Charles Wyndham, * from the United
States Theatres,' made his first appearance as an actor in his
native town.* He played Howard Ormsby in a new drama
from his own pen, entitled Her Ladyship's Guardian. The
following critique appeared in the * Liverpool Mercury ' the
day succeeding the production : —
' It is the production of Mr. C. Wyndham, who also takes
the part of the principal character in the piece, though he has
not committed the mistake, which author-actors are apt to
fall into, of making himself figure too prominently in the per-
formance. The plot is not remarkable for novelty, but there
is sufficient mystery about it to make the audience wait
anxiously for the denouement Mr. Wyndham as the
hero of the piece, played his part with all the nonchalance
which the character required, and some of the dialogue be-
tween him and Miss Vining (who made her first appearance
at the Amphi'), as Lizzie Hope furnished the best specimens
of acting in the piece.'
Wyndham remained at the Amphi' until December 6,
1865. During his engagement, which had originally been
for twelve nights only, he appeared as Captain IMurphy
Maguire {The Serious Family), Mephistopheles {Faust and
Marguerite), and as Shaun-the-Post in a revival of Arrah-
na-Pogue on October 25.
Adah Isaacs Menken, of Mazeppa fame, performed during
December, 1865. The 1865-6 annual was produced by John
Coleman, and was entitled The Yellow Dwarf ; or. Harlequin
King of the Golden Mines and the Beautiful Mermaid with the
Golden Hair.
* Wyndham was bom at 19 Tithebam Street, Liverpool, on March 23, 1837, The
house has long since been demolished and a shop built on the site.
240 ANNALS OF THE LIVERPOOL STAGE
To 'The Theatre' magazine, of July, 1893, John Coleman
contributed an article on Thomas Higgie, who was his stage
manager at the Amphi'. Higgie, I may mention, was not
only a good actor, but a skilful and prolific dramatist.
Augustus Harris the elder and Charles Mathews both said
Higgie was the best stage manager of his time.
In the article referred to, Coleman mentions that they
had only a fortnight in which to get up the pantomime.
' At the eleventh hour our ballet-master failed us, but at the
instigation of Higgie, our harlequin (E. W. Royce), got up
our dances to the admiration of everybody. Our chorus-
master left us in the lurch, but again at the instigation of
Higgie, our prima donna (Marion Taylor), came to the rescue,
and pulled us through splendidly. To crown all, at the last
moment our drunken property-man struck, and his drunken
subs followed suit ; again the indomitable Higgie rose to the
occasion. "I have never been licked in my Hfe, sir," said he,
" and I don't mean to be hcked now! no, sir ! damme no ! "
With that he placed a couple of stalwart policemen at the
stage-door, subsidised half-a-dozen intelligent supers to assist,
then he stripped to his shirt sleeves, so did I ; he mounted
guard at one side of the stage, I at the other, and the panto-
mime went without a hitch ; in fact it beat the record, and
was played right up to Easter.*
' Having other theatres elsewhere, I was seldom in Liver-
pool, hence Higgie was left " monarch of all he surveyed,"
During my absence his most intimate acquaintance was a
yoimg actor, whom he had previously met during the run of
Ivy Hall at the Princess's. This gentleman was at the Prince
of Wales's with the late Mr. Henderson, who did not appre-
ciate his ability at its proper worth. Higgie, however, stoutly
maintained that his young friend needed only time and oppor-
tunity to become a great actor, and Higgie was right, for his
young friend was Henry Irving.'
On October 13, 1866, William Robert Copeland was
presented with a silver epergne on his retirement from active
theatrical life. The presentation was made by Mr. Burkin-
shaw on the stage of the Amphi'. Copeland had successfully
directed the destinies of the theatre for 23 years. No one was
• The last night of the pantomime was February 24, 1866.
ANNALS OF THE LI\^RPOOIv STAGE 241
more respected in theatrical circles, or more straightforward
in his dealings with both profession and pubHc.
Henry J. Byron commenced his management of the
theatre on October 15, 1866, with Barry SiilHvan as the star.
Byron's grandfather was the Rev. Henry Byron, who was
first cousin to Lord Byron. Byron was partly of Jewish
descent. His mother was the daughter of Dr. Bradley, of
Buxton, and Bradley had married a daughter of that Liverpool
worthy, Dr. Solomon, of ' Balm of Gilead ' fame. Solomon's
once renowned specific is perpetuated locally in Balm and
Gilead Streets.
Harlequin Blue Beard was the title of Byron's first
annual. R. H. Kitchen was clowm, and Charles Paulo har-
lequin. David Fisher, senior, was H. J. Byron's stage
manager. On January 28, 1867, John Ryder appeared in
Henry IV. Mrs. Stirling who had not been seen here for
some years played Peg Woffington in Masks and Faces on
Februar>' 4. Charles Dillon came on March 25. The Ryder-
Reinhart revival of King John took place on April i. Three
weeks later J. L. Toole came on a visit. On October 26,
1867, Bj-ron produced, for the first time on any stage, his
sensational realistic play The Lancashire Lass, with a real
ferrj' steamer, which was a marvel of mechanical ingenuity.
When the play was reproduced at the Queen's, London, on
July 24, 1868, Henrj' Irving played Robert Redbum. On
February 24, 1868, J. C. Cowper gave his well-known im-
personation of Badger in The Poor of Liverpool.
Although Byron's managerial reign here was as artistic-
ally brilhant as it was regretfully brief, it was asserted that
the Alexandra Theatre, which had proved unfortunate to
Mr. Henderson, had been a disastrous speculation to
Mr. Byron. The actor-dramatist got the newest and best
pieces, and put them on the stage in the most complete style ;
but the nett result of his managerial enterprise was the loss
of some £15,000 or so. Some time after throwing up the
sponge, Byron took advantage of a professional engagement
at the Amphi', to deliver a speech in the course of which
he intimated his intention to pay every penny of the debt
he owed to the Copeland family.
Of Byron numerous tales are told. At a time when it
was the custom locally to charge a shilling for securing a
242 ANNALS OF THE LIVERPOOL STAGE
reserved seat, or booking a stall in advance, he noticed a
number of persons buying tickets and pa3dng the extra
impost. Going up to the box-office, he wrote conspicuously
above the window, a parody of Richard the Third's
exclamation : — ' Off with his bob I So much for booking-
'em.' The obnoxious custom did not long survive after
this.'^When theatrical affairs in Liverpool were not pros-
pering with him he was accosted by a friend and asked
why^he looked so glum. ' I've just had a nasty dose of oil '
he repUed. ' Oil ? ' queried his friend. ' Yes, Theatre
(R)oyal/ replied Byron, as he wended his way theatre-
wards. Once when he met poor Frank Musgrave, the latter
told him that he was ' going to Piccadilly.' All right,' said
Byron, ' mind you pick a good one.' These were manifes-
tations of sheer high spirits. Even on his death-bed his love
of a joke betrayed itself. He said to little Toole, who was
sitting by him, ' I have just answered a letter from my groom ;
he says one of my horses is ill, my favourite mare, and he
wants to know if I should give her a ball. I told him "yes" ;
but not to ask too many.'
After Byron got into financial difficulties the theatre was
run from March 30, 1868, by Miss E. Copeland, with Henry
Leslie as director. On April 3, a benefit performance was
given for H. J. Byron. Ten days later Barry Sullivan com-
menced an engagement. Under the Gaslight was submitted
on May 4, when performances were given by Lady Don
and Shiel Barr>'. T. C. King came on August 10. Exactly
a week later King and Benjamin Webster played in Dickens
and Wilkie CoUins's drama, No Thoroughfare. On September
28, W. Sidney was seen in his drama of country life. The Light
in the Dark ; or. Life Underground.
It's Never Too Late to Mend was presented on July 26,
1869, when Stanislaus Calhaem played Jackey, his original
character. On Saturday, August 28, J. Palgrave vSimpson's
drama. The Watch Dog of the Walsinghams, was produced for
the first time on any stage. The principal parts were inter-
preted by Madame Celeste and James Fernandez. On Nov-
ember 13, Fernandez played Shaun-the-Post in a revival of
Arrah-na-Pogue. He was highly praised by the ' Liverpool
Daily Post ' for his performance. Formosa was played, under
the direction of Dion Boucicault, the author, on December 20 .
ANNAI^ OF THE IvIVERPOOI. STAGE 243
The company included Catherine Rogers, ^Maggie Brennan,
and Mrs. Billington.
Barry Sullivan and Kate Saville came on February
5, 1870. They were succeeded by the Italian Opera Company,
On April 4, a French Opera Bouffe Company commenced an
engagement. May 2, saw Creswick the tragedian here.
He played in Ambition, Othello and Macbeth. James Fernan-
dez and Miss Eliza Rudd supported. The managers of the
theatre at that time were the executors of the late W. R. Cope-
land. On June 2, Henry Leslie took a farewell benefit, when
Osmond Tearle played Frank Sterne in Under a Ban.
Miss Bateman was here early in September, and was
seen in Leah and Mary Warner. Helen Faucit commenced
a four nights' engagement in December, and appeared as Lady
Macbeth, Pauline {The Lady of Lyons), and Rosahnd.
In April, 1871, Edmimd Falconer played Mickey Free
in Charles O'M alley. Mdlle. Beatrice and her company
came on Jime 19. Barry Sullivan and Miss ]\Iarriott were
here in November. The latter, on November 27, played
Rebecca in Ivanhoe. She was supported by an able company
which included Rachel Sanger, Grace Edgar, Osmond
Tearle, and James Lunt. Edmund Falconer played Br>'an
O'Farrell in Eileen Oge on February 5, 1872. On March 30,
Henry Leslie commenced his reign as sole lessee of the theatre.
Barry Sullivan was the star. Places could now be booked
for the pit, as well as for the stalls and dress-circle. Miss
Heath and Wilson Barrett presented Fernande on July 8.
Barry Sullivan paid a return visit on October 21. Early
admittance through the stage door could now be obtained on
payment of sixpence extra.
Mdlle. Beatrice and her company visited the Amphi'
again on February 10, 1873. Prominent in support were those
capable players, John Dewhurst and J. Carter Edwards.
In September the theatre was under the joint management
of Henry Leslie and Lindo Courtenay, On September 10,
Charles Reade's drama The Wandering Heir was performed
with J. C. Cowper and Mrs. John Wood in the cast. On
November 13, Miss Pilkington played Pauline to Barry
Sullivan's Claude Melnotte. Miss Pilkington's nom de theatre
was May Douglas. She was a Liverpool lady. Of her the
' Liverpool Daily Post ' said : ' The representation was full
244 ANNALS OF THE LIVERPOOL STAGE
of promise for the future, and on the whole an excel-
lent one.'
A painstaking young actor named Harris was about this
time engaged to play juvenile and light comedy parts. ' Dur-
ing this engagement,' says Pascoe, ' Mr. Mapleson engaged
Mr. Harris as assistant stage manager for his Italian Opera
Company, and after a fortnight appointed him stage manager,
in recognition of the way in which some operas had been
by him placed on the stage of the Theatre Royal, Bath, under
more than ordinary difficulties.'* The young man referred
to subsequently attained distinction as Sir Augustus Harris.
The Carl Rosa Opera Company commenced an engage-
ment on February 2, 1874. Among the principals were
J. W. Turner, Blanche Cole, and Rose Hersee. The Wandering
Heir was brought forward on June 8. Philippa was played
by Ellen Terry, who was prophetically described in the
advertisements as ' the great rising star of British Comedy.'
Charles Dillon and Bella Mortimer came on August 24, and
the Carl Rosa Company returned on September 7. Mr.
and Mrs. Aynsley Cook were then in the latter organ-
isation. Commencing on February 8, 1875, Mdlle. Beatrice
and her company played for 24 nights. They also performed
for a similar number of nights in the following year. When
the Chippendale Comedy Company came here on Sep-
tember 27, Hennann Vezin was a member of the company.
Joseph Hatton's Clytie was performed on November 29,
with Henrietta Hodsonf as the heroine. The Yuletide
attraction was the Carl Rosa Opera Company. It then
included Rose Hersee, Julia Gaylord, Charles Santley,
Henry Nordbloom, F. H. Celli, Ludwig, and Mr. and Mrs.
AjTisley Cook.
In 1876, Frank Cooper (who is descended on his mother's
side from the great Sarah Siddons), was tentatively engaged
as a low comedian at the Amphi'. Mr. Cooper was then in
his twentieth year. ' The contract,' he tells us in ' M.A.P.,'t
' was made without their having seen me, and I shall not
readily forget LesUe's face when I presented myself at his
office. " Good gracious ! " (he was not quite so mild in
expression as that) he exclaimed ; " there must be some
• ' The Dramatic List,' p. 159. t Mrs. Henry I^bouchere.
t June 15, 1907.
ANNALS OF THE LIVERPOOL STAGE 245
mistake. I thought you were a low comedian." I told him
that at all events, I was supposed to answer to that descrip-
tion, and after a deal of talk he emphatically expressed the
conviction that his audience would not " stand " a low
comedian who measured over six feet in his socks, and
spoke in a deep baritone, and suggested that I should remain
with them as "Juvenile lead," or as the French say, jeune
premier, which I accordingly did.'
Salvini, the celebrated tragedian, commenced a three
nights' engagement on March 20, 1876. He played Othello and
Hamlet. On May 8, Genevieve Ward made her first appearance
in Liverpool in playing Lady Macbeth. Si Slocum was the
title of a sensational American border drama, in which ^Mr. and
Mrs. Frank Fra>Tie sustained leading parts on June 12. On
October 2, Miss Marriott gave her splendid portrayal of Queen
Bess in Elizabeth, Queen of England. On November 6,
Arthur Gamer reappeared at the Amphi' as Tom Spiril in
Paul Merritt's play. Stolen Kisses, which was its first pro-
duction on any stage. When Liz ; or, that Lass 0' Lowrie's,
was produced on July 9, 1877, R. C. Carton (the prospective
dramatist), created the part of the Rev. Alfred Lonsdale. The
opera of The Merry Wives of Windsor was performed by the
Carl Rosa Company on December 29, 1877, when Aj-nsley
Cook gave a finished impersonation of Falstaflf. Charles
Reade's drama, Joan, was introduced on September 2, 1878,
with Rose Leclerq in the leading character.
On April 28, 1879, ^^^ Tempest was performed. Ethel
Castleton and Jennie Lefevre appeared alternately as
Miranda, while John Wainwright and Robert Brough also
alternated the characters of Caliban and Trinculo. Julia
St. George played Ariel, and on the occasion of her
benefit (May 9), took her farewell of the Liverpool stage.
The partnership between Messrs. Leslie and Courtenay
lasted until ^lay, 1879. Lindo Courtenay then became sole
lessee, with Charles Courtenay as his acting manager.
A comic Irish pantomime entitled The Man in the Moon
was produced on November 10. The company included
Mr. and ]Mrs. Charles SulHvan, Guilfoyle Seymour, Adam
Leffler and Thomas Nemey. Richard Hicks played clown.
On April 26, 1880, the English Opera Company commenced
a six nights' engagement. Prominent among the principals
246 ANNAI^ OF THE LIVERPOOL STAGE
were J. W. Turner, Aynsley Cook, and Ludwig. On May 6,
W. S. Branson was accorded a complimentary benefit. The
T. P. Cooke prize drama, True to the Core, was revived on
August i6, with Osmond Tearle as Martin Truegold. Fred
Gould and H. Vernon's Black Flag Company came on
September 20. Barry Sullivan was here during the week
commencing November 15. The Carl Rosa Opera Company
occupied the bill at Christmas.
In 1880 the theatre was put up for auction, and bought
by Sir David Radcliffe for ;^20,ooo. The last performance
took place on February 28, 188 1, when the bill was exactly
as follows :
' ROYAL MIPHITHEATRE.
Liverpool.
Sole Lessee . . . . . . Mr, Lindo Courtenay
Doors open at 7. Commence at 7.15.
Prices of Admission.
Private Boxes £2 2s. and £1 is. New Omnibus Boxes ;^i lis.
Single seats in same 4s. each. Dress Circle 3s. vSide Circle 2s.6d.
Pit Stalls 2s. Pit One Shilling. Gallery Sixpence.
Box Office open from 10 till 3.
On Monday next, February 28
Benefit
of
Mr. Lindo Courtenay,
and
Last Performance at the Amphitheatre
prior to alterations, etc.
On which occasion
Mr. and Mrs. Edward Saker
Alexandra Theatre
Mr. Frank Emery
Prince of Wales Theatre
Mr. F. C. Packard,
Madame Joyce Maas
By permission of Mons. Van Biene, Bijou Opera'House
ANNALS OF THE LI\^RPOOIv STAGE 247^
Mr. Arthur Ricketts, Mr. Owen Dacroy,
Mr. L. S. Dewar
Miss Florence Courtenay,
Miss Polly Poland,
Miss May Douglas, etc.
Have kindly consented to appear.
The performance will commence at 7.15 with the Cele-
brated Comedy Drama in Four Acts by Mr. Frank Harvey,
entitled :
JOHN JASPER'S WIFE,
By permission of Mr. F. H. Paget, in whom the Provincial
right is invested.
Sir Archibald Grimely . . . . Mr. L. S. Dewar.
Philip Forrester . . . . . . Mr. Owen Dacroy.
Mr. Quillet, a Lawyer . . . . Mr. Vincent.
Adam Jasper, a Farmer.. .. Mr. Arthur Ricketts.
John Jasper, his Son, a wealthy Iron Founder
Mr. Lindo Courtenay.
Lady AUce Harborough . . . . Miss IMay Douglas.
Grace Forrester, her Cousin Miss Florence Courtenay.
Betty Jasper . . . . Miss Polly Poland.
Lady Grimely . . , . Miss Lizzie Harris.
Act I. " Rough Billows." Act 2. " Cakn Waters."
Act 3. " Drifting Back." Act 4. " At Anchor."
To be succeeded by
A MUSICAL MELANGE
In which the following distinguished artistes will appear^:
Mr. and ]\Irs. Edward Saker, Mr. F. C. Packard,
INIadame Joyce Maas, &c.
Address by Mr. Lindo Courtenay.
248 ANNAI.S OF THE I.IVERPOOI. STAGE
To Conclude with the First Act of
Robert Macaire
Jacques Strop . . Mr. Frank Emery-
Robert INIacaire . . Mr. Lindo Courtenay
Supported by a Powerful Company.'
On the last night, the Amphi' patrons were particularly
lively, the gods and pittites especially so ; for I am told that
there was a continuous fusilade of popping ginger-beer
corks and veritable showers of nut shells from the gallery.
A gentleman who was in the house mentions that he
was nearly blinded by a hat, which was repeatedly tossed
from pit to galler>^ and gallery to pit, always hitting someone,
and finally reaching its owner in a hopelessly battered
condition.
Afterwards Sir David Radcliffe had the interior of the
Amphi' entirely gutted, and the house rebuilt from the
designs of Mr. Henry Sumners, an eminent local architect.
The new theatre was named the Royal Court, and the
opening performance took place on Saturday, September lo,
i88i, Captain R. B. Bainbridge (then controlling the fortunes
of the Theatre Royal, Manchester), being the lessee. The first
musical director was Mr. John Crook ; Mr. Sidney, the first
general manager ; Mr. E. Edmunds, the stage manager ; and
Messrs. Hall, Spong, and Muir, the scenic artists.
The inaugural performance consisted of a new and
original opera in three acts, entitled The Lancashire Witches ;
or, King Jamie's Frolic, written by R. T. Gunton, and
composed by F. Stanislaus. The cast was as follows :
King James the First . . . . Mr. Aynsley Cook.
Hopkins (the ' Witch Finder ' and Sir Ralph's Lawyer)
Mr. T. F. Doyle.
Sir Ralph Ashton (Lord of the Manor of Whalley)
Mr. J. FumeauxCook.
Richard Ashton (his Son), will be played alternately by
Messrs. Henry Walsham and W. H. Woodfield.
Captain of Soldiers . . . . Mr. Lynch.
Mayor of Blackburn . . . . Mr. Montigne.
ANNAI^ OF THE LIVBRPOOIv STAGE 249
Innkeeper . . . . . . . . Mr. R. Bell.
Hodge Mr. T. Worsley.
Stodge Mr. G. Hart.
Alizon (beloved by Richard), will be played alternately by
Madame Cave-Ashton and Miss Constance Loseby.
Dame Alice Nutter (a Witching Widow) :\Iiss Alice Cook.
Mother Demdyke | ^■. 1 • • j ^^'a^iHe. Mariani.
Mother Chattox j ^ ^ ^^ _ j^Xiss Juhet Smythe.
Sally . . . . . . . . Miss Marie Buxton.
Act I. Whalley Abbey. Act 2. Pendle Hill.
Act 3. Hoghton Towers.
The first and only Court pantomime submitted by Captain
Bainbridge was The Babes in the Wood, which was produced
on December 24, following. It was written byJ.F. McArdle. In
the cast were Alice Cook, A>Tisley Cook and Richard Hicks.
Strangely enough, no Christmas pantomime was afterwards
produced at the Court until December 24, 1895, when the
Drury Lane annual Dick Whittington was performed.
The year 1882 saw two new plays. The first was on
April 26, the operatic burlesque Merry Mignon, by Wilton
Jones, with music by John Crook of the Royal Court, and the
second on November 6, when for the first time in England, a
play in six acts, called Almost a Life, was produced.
In the following year visits were paid by D'Oyly Carte's
Opera Company and John Hollingshead's Gaiety Burlesque
Company ; and in Jtme the Rentz-Santley Burlesque Com-
pany appeared in an extravaganza founded on Longfellow's
* Evangeline.' On the twenty-fifth of the same month
came Nellie Farren and company in Blue Beard. On July
30, Charles Domton and WilHam Rignold played in The Two
Orphans, and David James was seen in Otir Boys on Septem-
ber 17. Other visitors were Florence St. John, Mr. and Mrs.
Kendal and John Hare, Hermann Vezin, and Charles Warner.
In the IMarch of 1884, Captain Bainbridge severed his
connection with the Court, the last play tmder his regime
being Blow for Blow. On March 29, he took a farewell benefit.
250 ANNAI^ OF THE LIVERPOOIv STAGE
About this period the theatre was sold by Sir David Rad-
cliffe to Carl Rosa for £40,000. The new proprietor opened
the theatre on March 31, 1884, with a revival of The
Ticket-of-Leave Man, Alfred B. Cross playing Bob Brierly.
J. D. McLaren was Mr. Rosa's general manager, John
Atkinson the acting manager, and J. O. Shepherd, musical
director, a position which he still worthily retains. Mr. Shep-
herd came originally from the Opera House, Leicester.
The late H. A. Bruce {' Daddy,' as he was endearingly
termed), succeeded J. D. McLaren as manager of the theatre.
Mr. Bruce was manager of the Court until June, 1896, when he
transferred his energies to the local Shakespeare. During
the last six months of 1890, IVIr. Bruce had Sir Augustus
Harris as co-managing director of the theatre.
On June 30, 1884, J. B. Howard (of Messrs. Howard and
WjTidham) appeared as Rob Roy. Commencing August 25,
Carl Rosa secured for three nights the services of Sims
Reeves, who appeared in Guy Mannering and The Beggar's
Opera. The Christmas of 1884 saw the appearance of Mr.
Rosa's popular opera company, which included Marie Roze
and Georgina Burns ; and Ludwig, Crotty, Snazelle, and
Barton McGuckin. For over a dozen years afterwards the
Carl Rosa Company provided the Christmas attraction at
the Court.
A drama called The Game of Life, written by Howell-
Poole, was produced on August 15, 1887. On May 5, 1890,
a farcical comedy by J. H. Damley, entitled The Solicitor
was brought out. Commencing July 21, 1890, the Liverpool
Opera Company gave six performances of popular operas.
On Thursday, October 22, 1891, Wilson Barrett essayed for
the first time the part of Othello, and with the happiest
results. The sustained beauty and power of his performance
called forth the highest laudation from the critics, one.
perhaps, the most accomplished of them all — Mr. (now Sir)
Edward Russell — saying : ' 2.1r Barrett is thoroughly possessed
with the sentiments of the part In all he is most
convincing and powerful, carr>ang the audience thoroughly,
rapidly, and excitedly with him The whole of the
third act is very masterly, all the vigour of the actor's
physique supporting a strong and sound Oriental conception
In fact, the ferocity of the Moor, combined with his
ANNALS OF THE LI\^RPOOIv STAGE 251
intense agony, is realised from the moment when the poison
first works, with a sincerity and absorption of the whole
man which places Mr. Barrett s Othello in the first rank.'*
On August 3, 1896, Mr. Robert Arthur became lessee
and manager of the Court, and opened with Mrs. Bernard
Beere's Company in Masks and Faces. Just twelve months
later, the theatre passed into the hands of the Robert Arthur
Theatres Company, Limited, under whose management the
first production was The Trumpet Call, given on August 2,
1897.
Mr. Arthur's first Liverpool annual was Cinderella, which
ran into a second edition. Prominent in the cast were Marie
Montrose, Amy Augarde, Flo Wilton, Bert Gilbert, Bertie
Wright, and Newman and Downes. The second pantomime
(1897-8) was Robinson Crusoe, with Frances Earle, Florrie
West, Hetty Dene, the Sisters Levey, Stratton Mills and
Harry Wright. Tuesday, April 12, 1898, saw the premiere of
the four-act opera Diarmid, written by the ^Marquis of Lome,
and composed by Hamish MacCunn. It was performed by
the Carl Rosa Opera Company. The 1898-9 annual, produced
on December 21, was Aladdin, written by Walter Summers,
and the cast comprised Claire Romaine, Austin Melford, and
Little Tich.
On December 21, 1899, The Babes in the Wood was
produced. The ' book ' was by Walter Summers, and the
principal parts were played by Nell Hawthorne, Sybil
Arundale, Eva Dare, Mrs. Stanislaus Calhaem, J. F. McArdle,
George Mozart, Walter Groves, and Paul Cinquevalli. Alfred
C. Calmour's Mistress of Craignairn was produced by Frank
Cooper and Murray Carson's company on February 26, T900 ;
and on October 18 following Mr. and Mrs Kendal were seen
in Mrs. W. K. Clifford's new play The Likeness of the Night.
The last Court annual of the century was The Forty Thieves,
written by Walter Summers, with Mabel Nelson, Sybil Arun-
dale, the Sisters Levey, Tom E. Murray, and Little Tich in
the cast. The following Christmas saw the production of a
very pretty extravagau'za, entitled Oberine, written by Walter
Summers. Victor Widnell's play, A Woman of Imftdse, was
produced on March 24, 1902. Another beautiful extrava-
ganza, Santa Claus, Junior, from the pen of Walter Summers,
• ' Liverpool Daily Post,' October 23, 1891.
252 ANNALS OF THE LI\^RPOOIv STAGE
was brought out in the following Christmas. Ellen Terry-
appeared in Miss Clo. Graves's new play, The Mistress of the
Robes, on November 4. 1903. The Scarlet Goblin, written by
Frank Dix, was the succeeding Yuletide attraction. On
Saturday evening, December 3, IQ04, Sir Henry Irving
made his last appearance on the Liverpool stage, when he
played in Waterloo and The Bells. Dick Whittington was the
annual for 1904-5. On November 15, 1905, Martin Harvey
essayed Hamlet for the first time in Liverpool. The Queen
of Hearts was the next pantomime ; Aladdin the subject for
1906-7 ; and Cinderella for 1907-8.
THE ' HOP.'
The ' Hop,' or the ' Penny Hop,' as it was not infrequent-
ly called, was for many years a house of entertainment of
very considerable popularity. It was situated at 140 Dale
Street, almost facing Fontenoy Street. The ' Hop ' was
opened about 1830 by Mr. John Caloe as a Theatre of Arts.
Here were to be seen mechanical working models of ' The
Storm at Sea,' ' The Bay of Naples and the Eruption of Ves-
uvius,' and an allegorical representation of ' The Birth of
Venus,' while a beautifully modelled figure of Napoleon
told the fortunes of ladies and gentlemen. Other enter-
tainments consisted of negro minstrelsy, legerdemain, marion-
ette performances, dissolxing views, and the centrifugal rail-
way. I must not omit to mention the wax-work figures,
which included ' Sir John Franklin Lost in the Arctic Regions,'
' Andromache and the Lion,' and ' Gold Diggers at Work in
CaHfomia.' All these figures, as well as their mechanical parts,
were made in the work-shop behind the stage of the ' Hop.'
Apropos of the model of ' Sir John Franklin Lost in the
Arctic Regions,' Mr. Caloe's son* tells me that one morning
a jolly Jack Tar strolled in and duly paid his penny. After
looking round he came to the Franklin group, before which
he paused, and ejaculated ' Poor fellows ! Poor fellows ! '
Addressing the figure of a sailor he said ' I can't shake yer
flipper, messmate, so give us a wag of yer foot.' Thereupon,
• Mr. John Caloe, of Old Basford, Nottingham, to whom I am indebted for some of
these particulars.
ANNALS OF THE LIVERPOOL STAGE 253
lie heartily shook one of the model's supposed frozen feet, but
much to his disma)^ it came off in his hand. ' Well, I'm
blessed, if that there frost ain't gone and eaten your foot off
as weU I Poor fellows ! Poor fellows ! ' And out he went.
In the summer of 1846 a dwarf named Joseph Astill was
on exhibition here. He was then, according to his memoir,
in his thirty-sixth year. ' It is very difficult,' we are told by
his biographer, 'to form a proper idea of the personal appear-
ance of this extraordinary person. WTien standing upon the
floor, or walking about the room, which he does, dressed in
the most elegant and fashionable manner, with all the grace
and dignity of a finished gentleman, all his lines are of the most
elegant proportion ; his head is of the proper size and beauti-
fully developed. He is of a dark complexion, dark hair,
fresh rosy cheeks, large beautiful eyes, a fine forehead, a hand-
some mouth, covered with a graceful and effective pair of
mustachios. A great vivacity of expression, and hilarity of
behaviour ; he is altogether free from deformities which gen-
erally disfigure such minified species of manhood.'
After this glowing account of Mr. Astill's charms, we cannot
be surprised that he should have entered the bonds of holy
matrimony, which he did at St. Peter's Church, Liverpool.
The dwarf lady of his choice was EHzabeth Mansfield, of Man-
chester. ' This lady,' says the memoir ' is equally symmetrical,
of an intelligent mind and intellectual abilities.' They were
married on August 7, 1846, by the Rev. Thomas Halton, M.A.,
in the presence of John and Sarah Caloe, of the Mechanical
Exhibition Rooms, as the ' Hop,' was first styled.
' After this,' says my informant, 'we took a plvmge into
real legitimate drama, and played three shows a night, and
five on Saturday.' A small, but good working company was
got together, under the direction of the proprietor's brother,
Mr. William Caloe. The company included Messrs. R.
Goodman, Luke v^harples, and Mr. Williams, junr., Mr. and
Mrs. Williams, Mr. and Mrs. Sandy Keir, and Mr. and Mrs.
W. Henderson. They were certainly not a big crowd, but
as there were generally a few professional gentlemen wanting
to fill up an extra week or two, the gaps were commonly
filled by birds of passage.
Friday evening was the fashionable night of the week, and
on one of these occasions Richard III was presented. The
254 ANNALS OF THE LIVERPOOL STAGE
performer of the title part was a past-master in the art of what
he called ' steaming ' it. That is to say, if he had a part of
many lines, which he had not completely studied, he used to
mix up with it scraps of all kinds from his memory ! Upon the
occasion referred to above he had imbibed ' not wisely, but
too well.' However, he managed to get on all right for some
six lines, after delivering ' Now is the winter of our discon-
tent, &c.' Then, ' without turning a hair,' he spouted a
bit from The Fire Raisers, something from The Warlock of
the Glen, and, finally wound up with a few stirring lines
from The Seven Charmed Bullets !
There was another favourite performer named Jack
JNIatthews, whose speciality was the enactment of Hamlet.
He had a large black dog, which followed him all through
the tragedy. It was trained to * bay the moon ' when the
Ghost appeared, and throttle the King in the closet scene,
thus terminating the performance about half-an-hour after
its commencement !
Another performer was a gentleman who hailed from the
Emerald Isle. On the night of his first appearance he had
not spoken a dozen words of his part when he suddenly ' dried
up,' and not being used to ' steaming,' or ' gagging,' he gazed
wrathfully at the audience. The silence, however, was broken
by someone in the gallery shouting out ' Wax ! Wax ! Wax ! '
One cannot say why that word should have been flung at him,
but it was evident that the new actor grasped the allusion,
for, on coming to the front, he looked daggers at the house,
and exclaimed ' Is it a dirty cobbler ye be after taking me for,
ye blackguards ? ' That was enough ! The whole house
roared with laughter, mingled with cries of ' Wax I Wax !
Wax ! ' In fact, that was his greeting whenever he appeared
ever after, with one exception. This was on an occasion
when the play was The Wood Demon, which was generally
performed on a Saturday night. Mr. ' Wax ' was cast for
the Demon, and it was arranged at rehearsal that he should
make his appearance standing upon an eleven inch plank that
was placed across the front of the frame used for the Theatre
of Arts. Two wings were bolted to the plank, which, upon
being released, fell to the right and left, disclosing the Demon
* in his habit as he lived.' It was explained to the actor that
he must be very careful in making his exit.
ANNALS OF THE LIVERPOOL STAGE 255
Saturday night came round, and the first house was
crowded. As the luckless player was garbed in Demon dress
and mask the ' gods ' did not pierce his identity, hence his
usual greeting was conspicuous by its absence. This so
elated Mr. 'Wax' that he forgot all about the plank upon
which he stood, and, stepping back, disappeared from view in
the twinkling of an eye. This ' vanishing ' trick was greeted
with loud applause, but, unfortunately, he could not be got
out from amongst the lumber in time to respond.
During the filling of the second house he was prevailed
upon to do the same again, as it would increase his popularity.
It was arranged that he should fall upon a straw bed used for
pantomime business, but, unfortunately, he did not clear
the plank sufficiently, with the result that his lower jaw caught
the edge of the plank. The poor fellow was tmable to appear
any more that night, all the demon being effectually knocked
out of him.
Another amusing anecdote of the ' Hop,' and that the
last : — A troupe of acrobats were engaged, and one of their
number gave a ' single turn,' in which he displayed his skill
as a champion weight-lifter. Somebody, however, on mis-
chief bent, changed one of the fifty-six pound weights for one
made of cardboard. The strong man's vision was impaired
by the loss of one eye, but in this instance not unfortunately
so. He took the first and second weights, and after having
manipulated them he took the third — the one made of card-
board. Realising in an instant what had been done, he as
quickly decided to turn it to his own advantage by throwing
three ' flip-flaps,' while holding the dummy weight. He was
greeted with a perfect round of applause, and the audience
declared it to be the greatest feat they had ever witnessed !
I\Ir. Caloe assures me that from the opening of the ' dear
old " Hop," ' as he endearingly terms it, up to its final close
in i860, there was nothing put forward of a degrading, or
immoral tendency, the plays and exhibitions being of a
highly intellectual and instructive nature, affording enjoy-
ment to thousands at a cheap rate.
THE ZOOLOGICAL GARDENS THEATRE.
This estabUshment, which occupied a prominent place in
public favour for many years, was situated in the beautifully
256 ANNALvS OF THE LIVERPOOI. STAGE
laid out Zoological Gardens, West Derby Road. Vaude-
villes and farces, like 'Twas I ! The Swiss Cottage, The Loan
of a Lover, etc., interspersed with singing and dancing, were
given by a number of talented performers. Mrs. Burkinshaw,
the Leclerq Family, the Deulins, Stanislaus Calhaem, and
Fourness Rolfe aU appeared on this small stage. Admission
to the performances was free, except to the gallery,
where a small extra charge was made. I am imable to say
when the theatre was first established. In all probability it
was soon after the gardens were first opened by Mr. Atkins
in May, 1832. The gardens closed about 1865. Their site
is now occupied by Boaler, Goldsmith, Bourne, and Empire
Streets, It is to be regretted that no effort was made to retain
the gardens for public use, as they could have easily been
converted into an ideal pleasure resort.
THE PRINCE OF WALES THEATRE,
Vauxhall Road.
In 1842, nearly a couple of decades before the historic
' little house in the square ' was opened, there was situated
in Vauxhall Road, a Prince of Wales Theatre. In that year
representations were apparently made to the Mayor that the
performances at the theatre were contra honos mores. The
house was therefore closed. An investigation, however,
into the nature of the performances took place, and it was
found that the theatre had been well conducted, and the
performances above reproach. The Mayor accordingly
granted full permission to the proprietor to re-open the
theatre ; and the inaugural bill after all the fuss consisted of
Vasha, the Slave Queen, and Nicholas Nickleby. All other
details concerning this long forgotten house have been
devoured by ' Time's insatiable maw.'
_ THE • PENNY HOP.'
This establishment was located in Hood Street during
the 'forties. The interior consisted of a spacious room fitted
up in the rudest manner, with a stage and seats on an inclined
plane. The entrance was through a dark passage and up a
ladder staircase.
ANNAI.S OF THE LI\^RPOOL STAGE
257
Plays were given twice, and sometimes thrice, nightly.
The patrons were of the lowest order, and many were without
shoes and stockings. Once the performers attempted to
play Jack Sheppard, but in consequence of the frequent in-
terruptions of the audience, who seemed to wish to take part
in the play, the actors had to cease in the middle.*
THE ROYAL COLOSSEUM AND QLT^EN'S THEATRES.
Let us imagine that we are living in Liverpool in the
seventeenth century and that we have sauntered out for a
breath of country air as far as the old bridge, which
spanned the Pool at the foot of Lord Street, then the
extreme end of the town eastward. Resting awhile, we
gaze upon the eddying waters of the Pool coursing their
way through what is now Whitechapel and Paradise Street,
and lapping the shore upon which, in after years, the theatres
under notice were situated.
Some years passed, and the waters of the Pool were
diverted by the opening of Liverpool's first dock (the Old Dock
as it was called) , the position of which is now occupied by the
Custom House. As the town developed eastward, there was
amongst other buildings erected in Paradise Street a farmers'
inn and livery stables, kept by one James Dimoke, who, for
some considerable period both before and after the year 1750,
kept the only carriage (a one-horse chaise, with a leathern top),
that could be hired in the town. Hackney carriages were
then unknown, and the only private carriage was that belong-
ing to Miss Clayton, of Clayton Square.
Towards the close of the eighteenth century the Unitarian
congregation in Liverpool, finding the chapel in Key Street
too small, cast about for a suitable site for the erection of
a newer and more commodious conventicle. This they
found on the site of Dimoke's old inn and livery stables,
previously referred to. The lease bears date 1788, and the
new chapel was opened for public worship in 1791.
' In form,' observes ' The Stranger in Liverpool,'! ' the
structure is octagonal ; open at one of the sides, in which is
• Parliamentary Papers, 1852, Vol. VII. f Ninth edition (1829), pp. 144-5.
258 ANNALS OF THE LIVERPOOL STAGE
the principal entrance. Each side of the octagon exhibits
two windows : an attic balustrade runs round the whole,
ornamented with vases at each angle : in the centre is a large
octagonal lantern, with small vases at the angles. A hand-
some iron gate* and railing enclose a small area, which gives
an additional ornament to the building. The inside is
well lighted, and in every respect commodious. The seats
are lined and ornamented ; the pulpit supported by six columns,
with a double flight of stairs, makes a very pleasing appear-
ance. The gallery is well constructed, and in the front is
richly inlaid and veneered with beautiful woods.' The chapel
also possessed a well-toned organ. At the rear of the building
in Manesty's Lane (where the stage now is), a day school
for boys and girls, and the schoolmaster's house were
situated.t
During his sojourn in Liverpool, Dr. Martineau (brother
of the celebrated authoress, Harriet Martineau), preached
some of his most excellent sermons within the walls of
Paradise Street Chapel ; and here also have worshipped,
on more than one occasion, Thomas Carlyle, ' the Sage of
Chelsea,' and his wife.
In 1849 the Unitarians migrated from Paradise Street
to a handsome edifice in the Gothic style of architecture in
Hope Street. Paradise Street Chapel was put up for sale and
bought privately on behalf of Mr. Joseph Heath, who, about
1850, opened the building as the Royal Colosseum Theatre
and Music Hall. It is only fair to mention that the Unitar-
ians did not know for what purpose their former chapel had
been bought. When Mr. Heath first opened the theatre the
pews of the chapel were requisitioned for seating accommo-
dation. The dramatic entertainments which Mr. Heath
gave his patrons, the youthful and ancient mariners from the
Wapping and other contiguous docks, were of a full-flavoured
description, while the variety performances, which were given
in that portion of the building fronting Paradise Street,!
were well suited to the taste of those for whom he successfully
catered through a number of years.
• This gate only a few years since was still to be seen in front of the theatre in
Paradise Street.
t It was either In the house formerly belonging to the schoolmaster, or one adjoining
t hat Mr. James Kieman, the well-known entrepreneur, was bom.
X This lesser hall was afterwards used as a dancing saloon.
ANNAIvS OF THE I.IVERPOOL STAGE 259
When Mr. Heath first opened the ' Colly,' — as it was fam-
iliarly called — the audience, in order to enter the theatre, had to
pass through the graveyard which partly encircled the building.
Amongst a number of youthful frequenters of the ' CoUy '
the behef gained ground that some ' spirit doom'd for a certain
term to walk the night ' haunted the vicinity of the theatre.
Be this as it may, there is no doubt that prior to the removal
of the remains for reinterment elsewhere, ' Props ' of the theatre
was never at his wit's end for a skuU for Hamlet. Indeed
the actor could help himself, for when in the dressing-room
(which had previously been used as a grave vault), he had, it
is said, only to put his hand through a thin division wall to
lay hold, even as Hamlet did, of the grisly relic itself. My
friend, the late James Carr, told me he remembered that on
one occasion when Eugene Aram was played at the ' Colly/
a real skeleton from the adjoining graveyard was requisitioned
to do duty for the bones of Aram's victim !
In 1857, ^^r- Heath's manager was George Ware, who
afterwards officiated in the same capacity at the Whitebait
Music Hall, Glasgow. Mr. Ware, who was bom in 1829, was
the author of several popular ditties. These included
' The Whole Hog, or None,' popularised by the great Mackney,
* The Squire and Maria,' and ' Up Goes the Price of Meat.'
He also wrote several of Sam Collins's successes, including
' The Fiddler's Wife,' and ' The House that Jack Built.'
After amassing considerable property in the neighbour-
hood, Mr. Heath joined the majority, and yielded up his
possessions to his son, Thomas Theodore Heath, who carried
on the theatre with undiminished popularity and success.
It was in the ' Colly ' pantomime of Fortunatus ; or, the
Magic Wishing Cap, produced at Christmas, 1866, that Mr.
and Mrs. Leno, and Master Dan Leno played. Mrs. Leno was
principal * boy.' Mr. Leno was clown, and little Dan, who
was then about four years old, appeared as a juvenile clown.
In 1867, Mr. James Elphinstone, one of the members of the
well-known theatrical family of that name, was the acting
and stage manager of the theatre. On November i, 1867,
there was produced a drama from his pen, entitled Prince's
Park and Scotland Road; or, Vice in Liverpool. In 1869,
G. H. Macdermott, of ' We don't want to fight, but, by
Jingo, if we do ' fame, was a member of the stock company,
26o ANNALS OF THE LIVERPOOL STAGE
and played in that year's pantomime of King 0' Toole's Goose,
as did also Clara Wood. While the great Tichborne case
was occupying the attention of the public a new drama,
entitled Robert Richhorne ; or, the Disputed Title, was brought
forward on July 31, 1871. In 1875 Mr. C. H. Duval took
the theatre, opening on September 27 with The Ticket~of-
Leave Man. After Mr. Duval came Mr. Jacob Goodman.
It was during the latter's tenancy of the theatre, that, on
October 11, 1878, a panic occurred resulting in the loss of
thirty -seven Uves, not to speak of the many injured. This
was primarily due to the fall of a portion of the ceiling into
the pit, a mishap that occasioned a false alarm of fire. The
late Fred Coyne was on the stage, singing ' You don't mean
what I mean ' when the panic broke out. Mr. Goodman
offered ;^20 reward for the discovery of the miscreant who
raised the false alarm of fire, but apparently without success.
Afterwards considerable alterations were made in the theatre,
the wooden pillars under the balconies being replaced by iron
ones, and the roof materially strengthened. The 'Colly' at
that time was capable of holding 3,000 persons. After being
closed for some time it was re-opened in the December of 1879
as the Royal Colosseum Temperance Concert Hall, when a series
of concerts was inaugurated by a committee of local gentle-
men, under the presidency of Mr. William Simpson, who
endeavoured to revive the old popularity of the ' Colly,' but,
unfortunately, their efforts were not crowned with success. In
1880, Mr. Dan Saunders, formerly manager of the New Star
Music Hall, in Williamson Square, took the theatre under
his care and had the license re-established. He opened the
house on April 26, 1880, as Saunders' Theatre of Varieties.
Jolly John Nash was the star. In June of the same year
Charles Godfrey appeared, and in November Jenny Hill came,
followed by Pat Feeney. At Christmas Mr. Saunders pre-
sented Frank Green's pantomime. Jack and the Beanstalk,
in which Charles Godfrey played the Dame, and the Leopolds
were responsible for the comic scenes. Mr. Saunders was
succeeded in 1881 by Mr. P. Wilcocks. During this gentle-
man's proprietorship Marie Loftus and Pat Feeney appeared.
Wilcocks christened the establishment the City Theatre
of Varieties. Messrs. Butler Stanhope and J. Vowles were
the next tenants. They named the establishment the Royal
ANNALS OF THE LIVERPOOL STAGE 261
City Theatre, and it became a dramatic house once more.
The following year (1883), during Mr. Sam Sweeney's manage-
ment, it was again known as the City Theatre of Varieties.
Early in 1884, Mr. J. H. Wood was the lessee. The house
was then styled the City Theatre and Royal Colosseum. On
August Bank Holiday, 1884, the theatre, after being renovated,
was opened by Mr. W. Potter as the Grand Theatre of
Varieties. Mr. E. Jonghmann was the musical director.
The following year saw Messrs. Wilmot and Roach, of the
Grand Theatre, London, installed as lessees. Afterwards
Mr. Roach was the sole lessee and manager. Commencing
Monday, February 26, 1894, the house was opened by Mr.
Elphinstone as the Grand Theatre. The Diver's Luck : A
Story of the Great Eastern was his initial attraction. On
Whit Monday, June 3, 1895, the theatre was opened as a
dramatic house under the title of the New Grand Opera House,
and, strangely enough, by two of the grandsons of the original
founder of the theatre, Joseph Heath. Determining to revive
the glories of the old place, they burnished up its tarnished
beauties, sweeping out every nook and corner, so that within
and without it was hardl}' recognisable, so great was the trans-
formation.
During the first twelve months of Messrs. John Edgar
Heath and Albert Heath's tenancy, the New Grand was
compulsorily known as a * teetotal theatre,' and, after being
conducted by them for two years, it was bought by Messrs.
Elliston and Machin for about ;^i8,ooo. The theatre re-
mained in their hands imtil about the end of July, 1901,
when Mr. T. Morton Powell became the lessee. Mr. Powell
re-opened the theatre on August Bank Holiday of that year,
and down to December of 1903 held the managerial reins.
During several months in the following year the theatre
remained closed. Then the work of demolition and recon-
struction was commenced with a will, and in a little while, as
by the hand of an enchanter, a new and handsome playhouse
named the Queen's arose on the site. Of the old building
there remains the front elevation in Paradise Street and School
Lane, and portions of the old walls.
The opening took place on August Bank Holiday, 1904,
with the drama entitled Bigamy, and imder circumstances
262^ ANNALS OF THE LR^RPOOL STAGE
which gave the lessees, Messrs. Carson and Granville, every
hope for the success of their venture.
The Queen's seats 2,000 persons at popular prices. The
ceiling and the fronts of the boxes, circle, gallery and pros-
cenium are in decorative fibrous plaster work of a unique
design. Cream and gold, picked out with crimson, are the
prevailing tints. The stalls and circle (horse-shoe shaped),
are fitted with the most approved tip-up seats in crimson
plush. The pit, which is several feet below the street level,
is also fitted with seats in crimson plush, and there are several
commodious refreshment buffets. There are eight boxes in
all on either side of the stage, each of which will accommodate
six persons. The proscenium opening is 27 feet wide and 26
feet high, or 22 feet up to the iron screen. In width it is
53 feet wide, and 38 feet from the footlights to the back cloth.
The handsome entrance hall and vestibule has an ornate
ceiling, mahogany screen and doors, Italian mosiac pave-
ments, and oxydised silver electrical fittings. There are nine
dressing-rooms situated where the old court-houses used
to be, and two ' star ' dressing rooms in close proximity to
the stage. There are no dressing-rooms under the stage as
in the old theatre. The theatre is lighted throughout by
electricity. The present proprietors of the Queen's are the
Granville Theatres, Limited, of which Mr. Fred Granville is
the popular managing-director.
THE BIJOU OPERA HOUSE.
At 65 Bold Street — called after the Bold family, who
held property thereabouts — there stood a conventicle known
as Dr. Thom's Chapel. About the early 'fifties of the last
century it was converted into an elegantly fitted-up chamber,
with^'a small stage, and re-named the Queen's Hall. The hall
was also known as the Queen's Operetta House.
The late Valentine Vousden, who recently passed away
in his eighty-fifth year at Bexhill-on-Sea, performed here on
more than one occasion. Thirty years ago his annual income
reached ;^3,ooo, and for many years it never fell below four
figures.
THE QUEEN'S THEATKE.
ANNALS OF THE I.IVERPOOI. STAGE 263
In 1863-4 Mr. and Mrs. Drayton gave their popular
musical entertainments, the conductor being the well-known
musical composer, F. Stanislaas. In the company was
Fourness Rolfe, a very able actor, whose widow is still living
and keeps a tobacconist and newsagent's shop in the WTiite-
field Road. Charles Christy's ^Minstrels were here in May,
1865. Mr. F. Burgess was the acting manager of the company,
which also included ' Pony ' Moore.
Mr. J. S. Ivofthouse, who had the Oxford Music Hall in
lyime Street, and the Cambridge at the corner of Warwick
and Mill Streets, was the proprietor and manager of the
Queen's in 1866. In November of the following year
those clever little people, the Aztecs, were on exhibition.
January 27, 1868, saw W. S. Woodin of ' Carpet Bag ' celebrity,
and the following September witnessed those versatile enter-
tainers, Mr. and Mrs. Howard Paul. Maccabe of ' Begone,
Dull Care,' fame sojourned here in December. Mr. William
Snodgrass was proprietor of the hall at this time. In 1870,
]\Ir. J. W. Bullock was lessee, September of that year
^vitnessed Mr. and Mrs. German Reed, and Messrs. Comey
Grain and Arthur Cecil in their always enjoyable enter-
tainments.
This was Comey Grain's first experience of touring.
While in Liverpool opportunity was afforded him of observ-
ing the odd ways of an eccentric ' Dresser.' ' One day, ' he
tells us,* 'I noticed a paper bag on a shelf. I thought
it contained buns or biscuits. Suddenly it moved slightly,
as I thought. Was it so, or an optical delusion ? I heard
a shght rustling ; it couldn't be the bag. I remembered a
silly old riddle about making a-bun-dance ; it couldn't have
come true. Again the bag moved. I felt frightened. Sud-
denly the bag seemed to jerk itself along the shelf. I cried
out to the dresser to come quickly. " Lor, sir," he said, " it's
only a Httle linnet as I bought cheap to-day off a man in the
market ! " Poor little linnet ! The dresser- painted some
of its feathers green and red, made a Httle perch that fitted
into his button-hole, and the poor bird was taken round the
country with us, fastened to this perch by a loop round its
body. I forget the linnet's fate, but I fear it was sad.'
• ' Corney Grain,' by Himself, pp. 47-52.
264 ANNALS OF THE LIVERPOOL STAGE
' Liverpool seems to possess a curious race of dressers.
There was another one three years later who rejoiced in the
name of Sexton. He had the faded appearance of an operatic
chorus-singer by day light, one of those unemployed peasants
who are always asserting and exercising their rights of meeting
on the stage, whether it be in the King's Counsel Chamber, the
Queen's Boudoir, or a Woodland Glade. His hair was shaved
off at the temples, worn rather long, and a soft wide-awake
was perched insecurely on the side and back of his head, like
unto the manner of the unemployed operatic peasants afore-
said. He had once been to Knowsley, and everything he saw
brought back vividly to him the memory of the late Earl of
Derby.
' " Ah ! sir," he would say, ' if the late h'Earl of Durby
'ad but seen this performance, 'ow 'e would 'ave apprusshiated
it." '
' There were queer people we met in Liverpool. We asked
a gentleman to recite on one occasion in our lodgings. He
looked round ; the room was very small, and he said, " I am
perfectly willing, but my voice is so extraordinarily powerful
I am wondering if the room would stand it."
' Then, again, there was the timorous and o'er modest
lady who let lodgings which gentility terms apartments ;
she was about sixty, and her sister sixty-five, but they refused
to let their apartments to Mr. Cecil and myself — they doubted
the propriety of the step, as they were two lone maidens.
' Then there was the cheery gentleman who entertained
us one Sunday, and insisted that Mr. Arthur Cecil should see
his pigs. In vain poor Mr. Cecil pleaded his ignorance of
the pig in its raw state ; in vain he protested ! " Harry,"
said the impulsive gentleman, " take Mr. Cecil out and show
him the old sow ! " And out Mr. Cecil had to go and see the
old sow.'
A popular favourite at the Queen's Hall was C. H. Duval,
who performed here during February, 187 1. Charles Duval
was originally intended for the bar, but he abandoned Black-
stone to follow Thespis. He made his professional d^but in
Dublin, where he opened as a monologue entertainer. The
Great Vance (Alfred Peck Stevens), was here in April. Some
time previously Vance had opened a dancing academy in Liver-
pool, but as it did not prove particularly lucrative, he made
ANNALS OF THE LIVERPOOL STAGE 265
up his mind to take an entertainment of his own through
the provinces.
The lady who sang solos and duets and danced on two
or four legs, the ' two-headed Nightingale ' as she was styled,
made her first appearance on August 17, 1872. In February
of the following year the Great Tom Maclagan commenced
an engagement. In April of that year he w^as succeeded by
Harry Liston, who gave his always acceptable ' Merry
Moments.' Mr. Liston was born in Manchester in 1843, and
began life as a commercial traveller. When George
Leybourne, the celebrated comedian, used to drive about
the metropolis in a carriage with four horses, Liston, by
way of burlesque, went about the streets in a cart drawn by
four donkeys.
A popular entertainer was Barry Aylmer who performed
here in October, 1873. He was succeeded by the Wardropers,
Henry and Walter. Herr Dobler, a very excellent conjurer,
came in February, 1874. On one occasion when Herr Dobler
was strolling through the market in Cork, he encountered a
woman selling oranges. He took one out of her basket, and
slit it with a knife, when, lo and behold, out dropped a sover-
eign. A second was put under the same process, with the
same result, the old lady staring aghast at the oranges, the
sovereigns and the professor. On the professor offering to
buy the lot, the vendor sturdily refused to have any dealings
with an emissary from the nether regions, as she conjectured
Herr Dobler to be. However she subjected her oranges,
one after another, to a similar operation, with evident disgust
at the non-success of her efforts. But the mysterious stranger
begged of her to cut in two one of the halves, when to her
great delight out dropped half-a-crown.
On September 19, 1874, Cooper's original Virginia Female
Christy ^Minstrels commenced an engagement. These artistes
gave a performance as varied as it was attractive. On
September 20, 1875, Charles Duval gave a performance in aid
of the Captain Webb testimonial fund. The Hero of the
Channel was present during the evening and received quite
an ovation.
On January 24, 1880, a new comic opera in two acts,
entitled Blue and Buff ; or, the Great Muddlehorough Election,
written by ' E. V. Ward,' with music by W. L. Frost, was
266 ANNAI.S OF THE LIVERPOOIv STAGE
produced for the first time on any stage. This pleasing little
piece, which was played by local amateurs, was much better
rendered in Liv^erpool than when performed by professionals
at the Haymarket, London, in September, 1882. The name
' E. V. Ward ' was an anagram compounded of the initials of
the two real authors, Mr. William Archer, the well-known
dramatic critic, and Mr. E. R. V. Dibdin, now the esteemed
curator of the Walker Art Gallery.
On May 3, 1880, the hall was opened by Messrs, Bell,
Woolrich, and Brown as the Bijou Theatre and Drawing-Room
Opera House, a cumbersome title truly, but one which was
afterwards shortened into the Bijou Opera House. The initial
performance was given by the Liverpool Amateur Operatic
Society. On November 14, 1880, Messrs. Bell, Woolrich,
and Brown obtained a fourteen years' lease of the Bijou from
the owner, Mr. Booker. They laid out about £2,000 on the
house, and the landlord spent close on another £1,000.
Afterwards Mr. Bell became sole lessee at a rental of £310
per annum. In 1882 he took in an adjoining house for the
purpose of improving the entrance and providing increased
accommodation for a new crushroom, a ladies' cloak and retir-
ing-room, and refreshment bars, as well as for providing better
access to Back Bold Street. The gallery staircase was also
greatly increased in width. Altogether he spent about £500
on the building. The additional premises were subject to a
yearly rental of £110. Behind them was the railway belonging
to the' Cheshire Lines Committee. The railway was laid about
1868, the lines being carried under Bold Street by means of a
tunnel, and opening out therefrom close to the little Opera
House, in an excavation 32 feet below the level of Back Bold
Street. The formation of the ground at that particular part
of the street was partly rock and partly made groimd, and it
wasj^necessary in carrying out the cutting to have a retaining
wall to keep Back Bold Street in its place. The wall erected
fell down on December 26, 1882, and the theatre had to be
closed. Mr. RusseU, Q.C., M.P. (afterwards Lord Russell
of KiUowen), was leading counsel for Mr. Bell at the Liverpool
Assizes (held in May, 1883), in his action against the railway
company, when the jury returned a verdict for the plaintiff,
damages £500.
ANNALS OF THE IvIVERPOOL STAGE 267
Early in May, 1883, Mr. Haldane Crichton produced
here for the first time on any stage a drama by Messrs.
Palgrave Simpson and A. W. A' Beckett, entitled From
Father to Son. The theatre at that time was under the man-
agement of Mr. A. Gordon. In 1886 Mr. A. L. Baron held the
managerial reins. Two years later Mr. Montague Roby,
proprietor of Roby's Midget Minstrels, was the lessee. He
commenced his season at Christmas, 1889, and did wonderfvil
business for upwards of seventeen consecutive weeks. Mr.
T. T. Brindley was Mr. Roby's resident manager with the
Midget Minstrels. Among the latter was a very talented little
lady who has since gained note as Louie Freear.
There is httle more to mention of the history of the Bijou
— which was made into shops in the early 'nineties — except
to record that the theatre was always a favourite one with
amateur dramatic societies. Time was when this city could
boast of a number of amateur clubs, but now alas 1 they are
few indeed. In the old days we had the Barry Sullivan,
Irving, Terry,Compton, Sheridan, Fairfield,Cambridge, Phoenix
and West Derby Societies, besides several others. Many who
have since achieved distinction in the world of the theatre
acted with local amateur clubs, notably James Welch, Walter
de Frece, H. C. Arnold, J. James Hewson, R. A. Roberts,
Fred Volp6, Melville G. Bickford, A. T. Crawford, Miss May
Shirley and Miss Nellie Thierry.
THE ROYAL PARK THEATRE.
The first playhouse opened in the south end of Liverpool
was the Royal Park. It was situated in ParUament
Street. It was opened on Monday, September 27, 1852, by
Robert Edgar (husband of the clever tragedienne, Alice Mar-
riott), with all the fittings and scenery which he had pur-
chased on the closing of the Liver Theatre in Church Street.
The building had originally been a guano store, but imder
Mr. Edgar's superintendence it was converted into an
attractive place of amusement. It held at popular prices
about ;^90.
Mr. and Mrs. Charles Pitt were here in October, 1852,
and in December Miss Marriott appeared as Miami in The
Green Bushes. On December 27, Charles Millward's first
268 ANNALS OF THE LIVERPOOL STAGE
pantomime Ye Siege of Liverpool ; or, Harlequin Prince
Rupert, and Ye Fayre Mayde of Toxteth was produced.
In it IVIiss Marriott performed, supported by the entire
strength of the company. Harry Boleno was specially en-
gaged to play clown.
The 1853-4 annual was Ormshead the Great ; or, Harlequin
and Jenny Jones, The Flower of Snowdon. It was also written
by Mr. Millward. Miss Marriott played »Snowdrop, and was
announced to give ' a few airs, which the author has thrust
on her.' The pantomime was preceded ' By a grave episode,
in which the shades of Joe Miller and the Author will have
very lively representatives.'
In October, 1859, Mr. John Campbell was the lessee of
the house. After passing through several vicissitudes the
building terminated its career as a theatre some few years
ago, and like its Thespian neighbour, the Stanhope Theatre
in Beaufort Street, is now used as a warehouse.
THE PRINCE OF WALES THEATRE.
Two hundred years ago what is now Clayton Square
was a rural spot. A mansion dating from that time ulti-
mately became the home of Miss Clayton,* whose garden was
the prettiest and most productive in the town. Equally famous
with the garden was Miss Clayton's closed carriage, at which,
we are told, the inhabitants used to stare with the greatest
wonderment, it being such a novelty. And had we Uved in
1745, we might have watched preparations for the laying out
of Clayton Square. In 1769, in this quiet and retired square
with its grass grown pavement, three more houses were erected
close to Miss Clayton's. Afterwards other houses followed
in due course, to be turned in after years into shops and offices.
Cla^'ton House eventually became Clayton Hall. This hall,
which was used at irregular intervals, possessed a good organ,
inaugurated by Dr. Wesley on January 23, 1854. Among
those who appeared here were John Coleman in his drawing-
room entertainment (January, 1854) '< Julia St. George in
her entertainment, ' Home and Foreign Lyrics,' the writer of
which was Amelia B. Edwards, and the composer, J. F.
• Miss Clayton was the daughter of William Clayton who represented I,iverpool la
Parliament, with intermissions, from 1698 to 1714.
THE PRI-NXi: UK WALKS THKATRK.
ANNALS OF THE LIVERPOOL STAGE 269
Duggan (December, 1856) ; and Gordon Gumming, the lion
hunter (July 9, 1857). Carter's American Panorama, and the
Indian giant and the Httle Texas lady formed the attractions
in September, 1858.
' On a cold and dreary evening in December, 1859, ^ young
man who had lately landed from Australia was roaming
through the streets of Liverpool in quest of some amusement.
Attracted by a dim light glimmering through the fog in
front of a building he read the following notice : —
" Clayton Hall. To-night , Minstrel Troupe,
Musical Varieties." This decided him. He paid his shillkig
and walked in.
' The entertainment not being of a particularly lively
nature, his eyes wandered listlessly over the interior, which
was a large square hall with a gallery at the end. Suddenly
he thought : — ' The situation is good, why not take the hall,
reconstruct the building, and form a pretty little theatre ?'
By the time the performance was at an end he had formu-
lated an oath a la Wilson Barrett. The young man was
Alexander Henderson.
' Early the next morning Mr. Henderson called on Mr.
W. Earp, proprietor of the hall, from whom he then and there
secured the lease, with the option of purchase. Two days
later he sailed for Australia, where he remained six months,
at the expiration of which time, the hall becoming vacant,
he returned to Liverpool to take possession, and to make the
necessary alterations.'*
Alexander Henderson's first wife, a Miss Moon, was
connected with Liverpool. Originally he had been a clerk in
the post-office in connection with the railway department.
He first tried his hand at theatrical management in Victoria,
Australia. Henderson afterwards made the acquaintance
of the Nelson family, the head of which, Sidney Nelson, was
the once well-known composer. He joined in their ventures,
and served a rapid apprenticeship to a business in which few
succeed, but in which he was on the whole very fortunate.
The prospectus of the Prince of Wales Theatre was drawn
up partly by a gentleman who took a deep interest at that
time in Liverpool theatricals, and partly by Mr. Sam Colville,
• ' The Prince of Wales' Theatre Annual ' (1884).
270 ANNALS OF THE LR^RPOOL STAGE
the American manager, who happened to be in town, as his
wife, the brilliant Mary Provost, was playing an engagement
here. A considerable amount of money was spent in the
reconstruction of the building, which was completed by
Christmas, 1861, and christened the Prince of Wales Theatre.
Early in 1862, the Brunswick Hotel adjoining was taken
into the theatre, and an entrance hall and crush-room in
Cases Street provided. Seven years later the Cases Street
entrance to the theatre was abolished.
Describing the theatre, the late William Edwards Tire-
buck in his novel, ' Dorrie,' wrote that it was ' A very cosy
comfortable little house ; so cosy that the stage seemed part
of the orchestra, the orchestra a part of the stalls, the stalls
a part of the httle pit, the opposite boxes on familiar terms
with each other, the dress-circle a friendly continuation of the
boxes, and the gallery like a cap of liberty and fraternity
capping them all.'* A truer or more pleasing description of
the Prince of Wales could not be desired.
The opening performance took place on Thursday evening,
December 26, 1861, with Buckstone's comic drama. The Maid
with the Milking Pail, followed by H. J. Byron's burlesque
on The Colleen Bawn entitled Miss Eily O'Connor.
The following were the respective casts :
The >Iaid with the Milking Pail.
Milly, Miss Maria Simpson.
Lord Philander, Mr, P. Granger.
Algernon Mr. Alexander.
Diccon, Mr. Sheridan.
Miss Eily O'Connor.
Myles-na-Coppaleen, Miss Maria Simpson.
Hardress Cregan, Miss Proctor.
Kyrle Daly, Mr. Alexander.
Daddy Mann, Mr. Fitzpatrick.
Mr. Corrigan, Mr. Sheridan.
Sergeant Tooralooral, Mr. FrankUn.
Eily O'Connor, Mr. John Rouse.
Miss Ann Chute, Miss Herberte.
Mrs. Cregan, Miss Barrowcliffe.
• Chap. XXXIII, p. 291.
ANNALS OF THE IvIVERPOOL STAGE 271
Prior to the commencement of the performance Mr.
Fitzpatrick came forward, and delivered the following opening
address : —
' The Manager with mighty woes oppress'd,
A heavy weight of light fim on his breast.
Requests that I should ease him of his care.
Presents his carte — I mean his bill-of-fare.
No five-act tragedies, we bring to tease you.
We'd rather live than die, kind friends, to please you.
Hard feat to gasp through ten poetic feet, or
Meet our fate in dull lines of long metre.
We'll catch the " humours of the age," and show
How far the charms of harmless mirth can go :
Give every novelty we can afford —
Upon these hoards you never shall be hored.
Cram but our little house from floor to rafter,
We'll cram the stage with fun,and crack your sides with
laughter !
" Laugh and grow f at ! " I've come to this decision —
That Dr. Fim's the very best physician.
Have you the blues ? Look here, a Clayton pass is,
We recommend at once a dose of Farces.
You're billions 1 cure you ? Yes, I think I can, sir ;
Take a decoction of Extravaganza.
Indigestion ! What ? Go take a blue pill ?
Take nothing of the sort — go take a vaudeville.
You're wearied with your 'counting-house and desk ;
Require a change — come to our new burlesque
Ladies, you fear a slight attack of vapours —
We recommend a trial of our capers.
Here all your trifling ills shall be appeased.
For we " can med'cine to a mind diseased."
Rely, to-night shall be the earliest token
Of promises, unlike pie-crust, id est — unbroken.
We throw ourselves to terminate these verses,
Not in the Mersey, but upon your Mercies :
We trust our many faults, errors, you'll forgive,
For only in your smiles can our little theatre Uve ;
And if, as now, we see aroimd, good humour, youth, and
beauty,
'Twill cheer us on when led by you — each one to do his
duty.'
272 ANNALS OF THE LI\rERPOOIv vSTAGE
Alexander Henderson had the gift of doing the right thing
at the right time. His plan was to have a first-rate stock
company, chiefly consisting of rising young players, content
with modest salaries, and thus to afford good support to
stars, who rapidly foimd in Clayton Square pecuniary profit
and social consideration. Other things in which he showed
great judgment were his scene painting and stage furniture.
For his scenic work Henderson secured the services of poor
Dalby, whose gift it was to prepare with magical celerity,
even at a day's notice, stage pictures of remarkable beauty.
As for upholstering, Henderson struck out a new line altogether
and arranged with the best firms to stage piece after piece
with new furniture, making his stage look like the milieu of
real luxurious life.
The earUest important engagement was that of J. L.
Toole. It took the little comedian three whole days to settle
in his mind whether he would close with Henderson's offer
of £2,0 per week certain, or accept the alternative of sharing
the profits after the expenses had been deducted. Finally,
he decided on the latter course, with the result that his pro-
portion of the profits at the end of his month's engage-
ment amounted to nearly ^600. His first appearance here
was made on January 20, 1862, when he played Simmons in
The Weavers, and Spriggins in Ici on Parle Franfais ; or,
French Before Breakfast. In the former piece he gave ' A
Norrible Tale.' During his visit he also played the titular
part in H. J. Byron's burlesque, Blue Beard.
On February 15, 1862, H. J. Byron's fairy burlesque,
Aladdin was presented. Another of Byron's burlesques,
Lurline, was produced on the Easter Monday following. Those
favourite performers the Nelson Sisters (Carry and Sara),
appeared on August 18, in The Invisible Prince ; or, the Island
of Tranquil Delights. Phelps played in November and Lady
Don in December. Byron's Ivanhoe was the Christmas
piece.
Miss Marriott attracted large houses in February, 1863.
About this time Henderson issued a paper for free distribu-
tion in the theatre. It was called ' The Curtain,' and
contained notices of the plays performed. The title of the
publication was afterwards changed to ' The Foot-Ughts.'
ANNAI^ OF THE IvIVBRPOOIv STAGE 273
On December 26, 1863, a drama entitled Stolen Money,
from the pen of Mr. (now Sir) E. R. Russell was produced.
The play was founded upon a story which appeared in Charles
Dickens's Christmas Number for i860, called ' A Message
from the Sea.' ' The Porcupine,' for January 2, 1864, said,
' there is much in the drama to admire, .... and the
author may be warmly congratulated on the heartiness and
cordiality with which the drama was received.'
The Tercentenary of Shakespeare's anniversary was
commemorated by the revival of Hamlet on Thursday, April
21, 1864. The titular part was played by Alfred Wigan. ' As a
Tercentenary commemoration,' says ' The Porcupine,' for April,
30, ' the Hamlet of the Prince of Wales was poor and mean.
We are not dwarfing Shakespeare by over-decoration nor
do we fear that lack of stage-management will ever destroy
the effect of his text ; but we have at least the right to expect
that a theatre which for common dramas and burlesques
weekly produces, at very short notice, the most exquisite
scenery, shall at least mount Shakespeare respectably. We
see no palliation for the offence of omitting to do so. Not
even the smallness of the stage excuses it, for we are continually
marvelling at the ingenuity with which, in burlesques, the little
stage is made almost unlimited by the clever illusions of the
artist, and no one can persuade U5 that what is done for Ixion
or Rumpelstiltskin could not be done to render the bastions
and terraces of Elsinore and the arrangements of the scene
at once vraisemblahles, picturesque, so spacious looking as
to give freedom to the action of the actors and the imagination
of the spectators. The play was certainly very well
performed.'
Alfred Wigan essayed Hamlet on May 7, 1864. Then
came the Pyne and Harrison Opera Company. On August i
following, the Brothers Webb (Henr>' and Charles), gave their
celebrated impersonations of the two Dromios in The Comedy
of Errors. Squire Bancroft played Antipholus of Syracuse.
The Webbs also acted in The Courier of Lyons. It was once a
popular fallacy that the brothers were twins. As a matter
of fact, Henry was two years older than Charles and was
much the better actor. Henry burst a blood-vessel while
playing Dromio of Ephesus, and died in London in January,
1867.
274 ANNALS OF THE LIVERPOOIv STAGE
Lionel Brough portrayed lyavinia in The Miller and His
Men on August 15, 1864. Brough joined Mr. Henderson's
company at the Wales in 1863, and remained a leading
member for more than three years. Subsequently he was at
the Amphi' under the managements of W. R. Copeland and
H. J. Byron. In October, 1867, Brough went to London.
In the autumn of 1864, a youth bent on becoming an
actor stood outside the Prince of Wales Theatre, fearful of
making his debut, and dreading the meeting with his future
comrades. That youth was John Hare.
* After considerable delay,' says Sir John Hare,* ' I was
allowed to pass the sacred portals of the stage-door by the
dirty Cerberus in charge, and groped my way on to the small
and dimly-lighted stage, to find myself in the presence of the
company assembled for rehearsal. To my astonishment I
was received with more than courtesy — with every token of
respect. A chair was considerately placed for me in the
centre of the stage by the prompter, and, taking possession
of it, I more calmly awaited the development of events.
Apparently I was already " discovered." vSomeone advanced
to me respectfully with outstretched hand and his hat in
the other, welcoming me to England, and hoped that my
first appearance would meet with the success which my
reputation predicted. It had preceded me across the seas,
he said, to my mystification. I soon found, however, that I
had been mistaken for a certain Mr. Raymond, an American
" star," whose arrival was awaited in Liverpool. Then,
although the deferential attitude assumed towards me
disappeared, I must say that, for a new recruit, I received
extraordinary kindness and encouragement, especially from
Bancroft, with whom I speedily made good friends and have
remained so up to the present day.'
On Thursday, September 29, 1864, Hare made his d^but
on the professional stage in a forgotten comedietta entitled
A Woman of Business. His part was that of a young dandy,
the Honourable Shrimpton Smallpiece. The ' star ' was
little Toole whose acquaintance Hare then made for the first
time.
• ' Reminiscences and Reflections,' by John Hare. ' The Strand Magazine,' May,
1908.
ANNALS OF THE LIVERPOOL STAGE 275
Speaking of his first appearance Sir John Hare says : —
' My feeUngs of dismay on walking on to the stage for the
first time were such that my self-possession entirely deserted
me on becoming aware of the sea of faces in front, with the
result that I absolutely forgot every word I had to say.
Gaping like a fish out of water, I must have presented a
pitiable and ludicrous spectacle. At any rate, I was not
left long in suspense — a burst of hisses greeted me from the
pit and gallery, harmonizing with the sound of refined but
derisive laughter from the boxes and stalls. This reception
was my salvation. Indignation enabled me to master my
nerv'ousness, so that I recovered my speech and was able
to finish the scene in an adequate, if not successful, manner.
Leigh Murray, who had accompanied me to Liverpool to
witness my first appearance, was clearly not much impressed
with the dehut of his pupil. He did his best, however, to
console me with encouragement, and himself with several
extra glasses of his favourite beverage.'
When Watts Phillips's comedy. The Woman in Mauve, was
produced on December 19, 1864, John Hare played the part
of Beetles, an ex-poHceman. This was Hare's first part of
importance, and he played it with great acceptance. The
' Liverpool Courier ' for the following day said, ' ^Ir. Hare
again manifested rare abilities in character parts.' A few
nights later during the progress of the second act of The
Woman in Mauve the leading characters were joining in the
chorus to a song sung by Sothern, who played the part of
Frank Jocelyn, Hare meanwhile beating time with a tele-
scope, which he used throughout the play as a kind of memory
of his former truncheon. The song went splendidly, and the
audience roared with laughter at each successive verse.
' The shrieks of the audience,' explains Hare, ' led me to
indvilge in extraordinary exertions with my telescope, which
I waved with the enthusiasm of a continental maestro. In the
midst of my ecstasy Sothern astounded me by saying quietly
in an aside, " It's all right, old fellow ; don't worry, but just
get off the stage as soon as possible ! " I then discovered to
my horror, that some towels with which I had stuffed myself
(in order to obtain a suggestion of embonpoint with which
Nature had not endowed me), had dropped from their moorings
and were making an untidy heap on the stage. Need I say
276 ANNALS OF THE LIVERPOOL STAGE
I fled from the scene and left the others to finish without
me ? '*
The following story is told concerning one of E. A.
Sothem's visits to Liverpool : — Sothem was very fond of
animals, especially of big dogs. He wanted one for his New
York home, and commissioned his friend, Henderson, to buy
it for him. This gentleman, like Messrs. Brooks, Dickson
and Stetson of Romany Rye celebrity, advertised for one.
In answer to the advertisement, Mr. Wilkins, a retired
actor, wrote to say that he had a suitable animal with which
he would part for a consideration. The animal referred to
had once been the chief attraction in canine dramas like The
Forest of Bondy ; or, the Dog of Montargis. There was a
time in the history of the stage when dogs were popular and
meritorious performers. They were histrionic ' stars ' of a
secondary magnitude. Dramas were written round the dogs,
and the actors had to play up to them.
The usual preliminaries having been concluded, a purchase
was made, and Wilkins received the sum of five pounds
sterling for his dog. Caesar was the dog's name, and he was
supposed to be only five years of age. Examination by an
expert revealed the fact that his age was three times
five at least. Sothem, therefore, sued Wilkins for the re-
covery of the five pounds. At the trial, Ccesar was produced
in court. He was admired for his fine appearance, but it
was proved that he had been ' made-up ' for the occasion.
Wilkins acknowledged that Csesar was a veteran. He
also said that for many years Caesar had been the principal
attraction of the Harrison Family and their canine troupe.
Wilkins pleaded impecimiosity as his excuse for parting with
the dog, and the court decided in his favour. But Caesar's
legal guardian refused to have anything to do with him. The
most pathetic part of the story remains to be told. Not long
after the famous trial, Caesar was observed in the streets of
Liverpool, with a tin cup in his mouth soliciting money for
a blind man. This was the end of the noble animal who had
performed as a canine ' star ' before admiring thousands, who
had seized celebrated actors by the throat, protected heroines
from the wiles of stage villains, and had very nearly become
the friend and companion of E. A. Sothern.
• ' The Strand Magazine,' May, 1908
ANNALS OF THE LIVERPOOL STAGE 277
On February 13, 1865, the notorious Davenport Brothers,
fresh from their so-called spiritual manifestations in London,
visited St. George's Hall, where their mysterious performances
created great discussion. They were accompanied by a fellow
conjurer called Fay, and a ' Dr.' Ferguson who acted in the
capacity of lecturer. The brothers attributed their feats to
spiritual means. This our townsmen could not stand, and
some of them arranged such knots as no spirits could succeed
in untying. The result was rebellion and riot. The mysterious
cabinet was smashed to pieces by some of the audience, while
others pursued the Davenports and their confederates to the
stage door of the Prince of Wales, where revolvers in hand,
they arrived in a bedraggled and breathless condition.
Henderson gave them refuge from the infuriated crowd, and
later on let them out by a private way, to reach their lodgings
and catch the first train home.*
Henderson took advantage of the foregoing occurrence
to produce an appropriate sketch entitled The Knotting' em
Brothers, on February 17, 1865. In this Hare was capitally
made up to resemble one of the Davenports.
Alfred Wigan commenced an engagement on March 20,
1865. During his visit he essayed two new parts, Shylock in
The Merchant of Venice and Evelyn in Money. In the latter
piece John Hare played the small, but eifective, part of
the old member, an asthmatical old gentleman with a
penchant for snuff-taking. ' The scene in the club,' says
Hare.t ' is so arranged that the old member makes his
entrance alone. His " business "is to take his seat and call
out, " Waiter, snuff-box ! " Then the other characters enter.
I had, however, determined to seize this opportunity of making
an elaborate character-study of the old gentleman. I do not
know exactly what I did, but instead of going quietly to my
seat, I gave a detailed delineation of an asthmatic old gentle-
man who grmited, coughed, and did everything except speak,
to the apparent delight of the audience, who laughed immoder-
ately at my efforts, much to my personal gratification. I,
however, delayed the entrance of the principal characters
for a considerable time, and was only brought to my senses
by the sight and sound of the infuriated Wigan saying to me
• ' Mr. and Mrs. Bancroft On and Off the Stage.' Sixth edition, p. 78.
f ' The Strand Magazine," May, 1908.
278 ANNALS OF THE LIVERPOOIv STAGE
from the wings, "Now, sir, we've had enough of this. Be
silent I" The impression made on the audience showed itself
subsequently, for whenever the old member opened his mouth
to say, "Waiter, snuff-box ! " he received a round of applause,
much to the indignation of Wigan.'
Society, which Tom Robertson had offered fruitlessly to
Sothern, Alfred Wigan, and nearly all the London managers,
was successfully produced here on May 8, 1865, for the first
time on any stage. How Liverpool's good opinion of the
comedy was afterwards endorsed at the metropolitan Prince
of Wales Theatre in Tottenham Street, is now well known.
In December, 1865, Henry Irving commenced here his
third engagement in Liverpool. On December 11, he played
Archibald Carlyle in East Lynne to the Lady Isabel of
Avonia Jones. Ir\dng remained here for six months, play-
ing utihty and burlesque parts. On Whit Monday, in 1866,
he sustained the female role of (Enone in an extravaganza,
entitled Paris ; or, Vive Lempriere I whUe the twins. Castor
and Pollux, were impersonated by Lionel Brough and Edward
Saker. Of Irving's performance, the ' Liverpool Daily Post '
of the following day* said that he ' displayed as much his-
trionic abihty in the representation of an absurd burlesque
part as he invariably does when he has an intelligent part to
render.' There were other similar words of just praise and
timely encouragement extended to him by his life-long friend.
Sir Edward Russell, now the doyen of Liverpool dramatic
critics. These early words of praise and encouragement were,
I know, greatly prized by Irving, and never forgotten.
During the remainder of his stay at the Prince of Wales
Irving rapidly improved in his art, and it seemed likely that
the prophecies of a brilliant career were soon to be fulfilled.
After the termination of his engagement with Mr. Henderson
there came a temporary blank. ' I have many memories of
Liverpool,' he said on the last night (October 6, 1883), of his
engagement at the Alexandra, prior to his departure for his
first American tour. ' One of them is of a time eighteen years
ago, when I stood upon the steps of the Prince of Wales
Theatre without an engagement, and wondered what on
• May 22, 1866.
Sir Henry Irving as he appeared in Liverpool in 1865
ANNAIvS OF THE I^IVERPOOIv STAGE 279
earth I should do next.' Then came an offer from Dion
Boucicault of a leading part in his new play entitled The
Two Lives of Mary Leigh, afterwards known as Hunted Down.
This marked the beginning of a new and important phase
in Irving's career.
On June 4, 1866, H. T. Craven's new five act play The
Needful, was produced for the first time on any stage.
The part of Abraham Store was played by the author. The
piece was afterwards produced in London.
Tom Robertson's comedy Ours was performed on August
23, 1866, for the first time on any stage. When it was brought
out at the metropolitan Prince of Wales, on September 15,
1866, the cast was the same as on its representation here,
with the exception that Frederick Yoimge then played the
part of Sergeant Jones.
Of Robertson's great anxiety in connection with the piece,
the late Charles Millward penned the following account : —
' Robertson was fearfully nervous at the rehearsals and
not sanguine of success. After the final rehearsal, on the
day of the production, I persuaded him to join me in
a sail on the river, and Clark and Dewar readily agreed
to accompany us. We accordingly took the steamer for
New Brighton, and on arriving there proceeded to the best
hotel, and ordered the best dinner that could be provided.
And how we all enjoyed that delightful impromptu banquet,
the pleasant balcony (facing the sea), upon which we sat,
and the exhilarating after-dinner talk ! Robertson was in
his very best form, and no longer shaking with nervousness ;
but just as we were thinking about returning to the theatre,
he fell asleep. I would not have him disturbed, poor fellow !
so he slept soundly until within one hour of the time fixed
for the commencerdent of the memorable performance. It
then became necessary to arouse him ; and the painful duty
devolved on myself. We reached the theatre just in the nick
of time, and then it was unpleasantly evident that Robertson's
nerves were again unstrung. The theatre was crowded in
every part ; but Robertson positively refused to occupy the
box the manager had reserved for him. He would first take
a smart walk, he said, "to blow the steam off." He must have
accumulated a large quantity of superfluous steam, for he
28o ANXALS OF THE LIVERPOOL STAGE
was non est during the performance of the first and second acts,
and although he had been vociferously called for by the
audience, he was nowhere to be found. WTien the third act
commenced, every soul in the theatre, save the author, knew
that Ours was a thumping success. But where was Tom
Robertson ? Surely not still blowing the steam off ? As
we knew there would be a tremendous call for him when the
curtain fell, we were bound to find the missing author, dead
or alive.
' Messengers were desj)atched in all directions in search of
him ; and as I had frequently seen him during his nervous
attacks, I joined in the pursuit. I dreaded the prospect of
the play terminating before the author turned up ; so I sought
for him in the streets around the theatre. Ultimately I
encountered him in Bold Street, walking at a furious pace,
mopping the perspiration from his brow, in evening-dress,
and bareheaded. He had been pacing the streets " blowing
off,' more than two hours. With great difficulty I induced him
to return with me to the theatre, where we found the last
scene on. WTien the curtain fell, a tremendous shout arose
for the author and Marie Wilton dragged him across the stage,
pale as a ghost, as limp and flabby a specimen of a successful
dramatist as one could wish to see.'*
The finishing touches to Ours were given by Mr. Robert-
son at Waterloo, Liverpool, where, in association with the
Bancrofts, the Byrons and the Hares, he spent a deUghtful
six weeks in the summer of 1866. Of those pleasant days the
Bancrofts recount how at the Liverpool summer assizes
held that year, the afterwards celebrated librettist Mr. (now
Sir) W. S. Gilbert, attempted his maiden speech at the bar
in prosecuting an old Irishwoman for stealing a coat.
' He was very anxious about his first essay, and we all
assembled to hear it. Mr. Gilbert tried for a long time to
speak, but the old woman interrupted him so persistently
that he could not get a word in edgeways, with such poHte
remarks as, "Hold 3'er tongue !" "vShut up, yer spalpeen!"
"Ah, if ye love me, sit down !" " It's a lie, yer honour !"
" Hooroo for ould Ireland ! " etc. She jumped about and made
• T. Edgar Pemberton's ' Life and Writings of T. W. Robertson,' pp. igi-a-
ANNALS OF THE LRrERPOOL STAGE 281
such a noise every time Mr. Gilbert attempted to speaii, that
the judge ordered her to be taken down until the next day ;
and as she left the dock, the prisoner made a grimace
at Mr. Gilbert, which I will not attempt to describe ! So,
after all, the maiden speech never came off, and I fear we were
all immensely amused at Mr. Gilbert's discomfiture.'*
The friends of the merry septenary party came down
to Waterloo once every week, and the evenings were
dedicated to improvised entertainments. They had mock
trials in which Mr. Hare was always condemned to act the
part of the criminal in the dock. Clever speeches about
nothing were dehvered by rising yotmg barristers. Mrs.
Bancroft was the judge, and gave imitations of various
gentlemen she had seen on the bench. Her robe was a pink
wrapper, and her wig was made of cotton-wool. On one
occasion a mock opera was performed. Mrs. Bancroft
was the prima-donna, W. S. Gilbert, the lover, John Hare,
his rival, with a large cloak, broad-brimmed hat, and knives
and daggers all over him ; the late W. R. McConnell (formerly
Revising Barrister of Liverpool), was the prima-donna' s
father — a deaf old man — at whom they had to shout all their
recitatives through an improvised ear-trumpet. The opera
was sung throughout in Italian gibberish, and was a most
amusing bit of nonsense. I may mention that the method
employed in the last act of Caste, to break the news to Esther
that her husband still lived, was suggested to Robertson by
one of the impromptu entertainments given at Waterloo.
Their audiences were small but appreciative. ' We were
all young then,' mention the Bancrofts, ' and the fun, perhaps,
appeared greater than it would now, but it was a very
happy time. Some of those pleasant friends are gone, alas !
never to return.'!
For some five years Mr. Henderson successfully managed
the theatre, but in 1866 he left to manage the New Prince of
Wales Theatre and Opera House in Lime vStreet — a house
which was said to have been * built by the currant jelly for
the currant jelly.' The Cla>i;on Square theatre was taken
by Mr. William Brough, who opened it as the V'arieties on
December 26, 1866, with King Arthur ; or, the Days and Knights
• ' Mr. and Mrs. Bancroft On and Off the Stage.' Sixth edition, p. 99.
t Ibid, p. 100.
282 ANNALS OF THE LIVERPOOL STAGE
of the Round Table, in which piece those favourite performers
Carry and Sara Nelson appeared. Mr. E. English succeeded
I\Ir. Brough as manager, and opened the theatre as a music
hall on February ii, 1867. IMr. Charles Benjamin Castle was
the next manager. About this time a German troupe of ladies
were seen in a series of classical poses. Their performances
obtained for ' the little House in the Square ' some rather
undesirable notoriety.
Alexander Henderson returned to manage the Clayton Square
house on September 2, 1867, upon which occasion Our American
Cousin was performed with E. A. Sothem in his original part
of Lord Dundrear>'. Madge Robertson (afterwards Mrs. W.
H. Kendal), was also in the cast. When H. T. Craven's drama,
Meg's Diversion, was presented on September 30, Henry Irving
and Marcus Elmore were specially engaged for leading parts.
Mrs. John Wood, who is a native of this city, made her
first appearance on October 14, when she performed Anne
Bracegirdle in The Actress by Daylight, and Jenny Leather-
lungs in Jenny Lind at Last. In the latter she gave her
popular imitations of Patti, Titiens, Mario, etc. That
clever and distinguished player Hermann Vezin was seen
in The Man 0' Airlie on November 11. Mrs. Scott-
Siddons, a grand-daughter of the great Sarah Siddons, was
here on November 25, when she played Rosalind for the first
time in Liverpool.
After Mr. Henderson left in 1868 the theatre was taken
by Frank Musgrave, who opened it on February 10, 1868,
with the burlesque of The Brigand, wherein vivacious Lydia
Thompson (Mrs. Alexander Henderson), and diverting W. J
Hill played. Mr. W. H. Swanborough was the acting
manager of the theatre. Musgrave was also assisted in the
management by his brother John. Toole and Mr. and Mrs.
Billington performed during the week commencing Novem-
ber 9. Byron's Not Such a Fool as He Looks was pro-
duced for the first time in Liverpool on December 14.
Principal parts were played by the author and William
Farren. The Yuletide attraction was F. C. Burnand's
burlesque, The Rise and Fall of Richard III ; or, a New
Front to an Old Dickey. y k ]^,[ '
On April 19, 1869, Fanny Josephs and George Honey
performed in Byron's burlesque, Lucrezia Borgia, M.D. This
ANNALS OF THE LIVERPOOL STAGE 283
was Miss Josephs' first appearance on the local stage. She
afterwards became lessee of the Prince of Wales. Towards
the latter end of 1869 the theatre was under the joint manage-
ment of Messrs. Eldred and FairHe. On March 28, 1870,
Edgar Bruce (who made his debut on the stage here), Charles
Domton, Harry Paulton, and Mr. BiUington played in Aurora
Floyd and Black-Eyed Susan. NelUe Farren and Constance
Loseby made their first appearance here with the Gaiety
Company on April 4. The famous Voices family performed
on April 18. The theatre was opened under the management
of Mr. H. W. Pearson, on October 29, 1870, when the
attractions were The Coquette and The Idle 'Prentice. In the
last-mentioned play Arthur Garner made his first appearance
on the stage. Mr. Garner remained at the Prince of Wales
imtil the following year. Mr. Henr>' Leslie succeeded Mr.
Pearson, and opened the theatre on December 26, with The
Loving Cup, and the Brothers Brough in The Enchanted Isle.
A painstaking and able actor, J. C. Scanlan, was the assist-
ant acting manager.
Commencing March 6, 1871, James Bennett the celebrated
tragedian was seen in a number of classic roles. Another
noted player, Julia St. George, performed in The Princess of
Trehizonde on March 20. On April 10, the Bilhngtons came.
The drama of Smoke and the opera bouffe of The Princess of
Trehizonde were presented. The first week in May witnessed
Madge Robertson and W. H. Kendal in The Palace of Truth.
The company also included that excellent comedienne Lottie
Venne, who then made her first appearance on the local stage.
At that time the proprietors of the house were the Prince
of Wales Theatre Company, Limited. On June 19, Mrs.
W. H. Kendal, played Ophelia in scenes from Hamlet. On
Jime26, Chiiperic was performed (for the first time out of
London), bj^ John Rouse, Emily Soldene, Bella Richardson,
and Clara Vesey. A noteworthy rendering of Dan'l Peggoty
in Little Em'ly was given by Sam Emery on August 7.
Towards the close of 1872 the theatre was imder the man-
agement of Mr. Sefton Parry.
On March i, 1873, Nellie Bouverie (' Bouverie Bright '),
made her first local appearance. In September, Mr. J. H.
Addison was proprietor. Addison bought from Alexander
Henderson the unexpired term of his lease, but subsequently
284 ANNAIvS OF THE LIVERPOOIv STAGE
disposed of it for ;£3,ooo. During his management a good
all-romid stock company was maintained to support the
visiting stars. IMr. Addison brought La Fille de Madame
Angot, Chilperic, Lurline, Genevieve de Brabant, The Happy
Land, etc. In Tlie Happy Land G. W. Anson was capitally-
made up to represent the Grand Old Man.
In the summer of 1874 the theatre was under the manage-
ment of Mr. W. Sidney. On September 21, Charles
Wyndham, R. J. Roberts, Fred Marshall, Nellie Bouverie,
Caroline Elton, and Alice Ingram were seen in Brighton.
On November 30, Henrietta Hodson appeared in Ought We
to Visit Her ? Miss Heath and Wilson Barrett were here
on August 2, 1875. The following week came Alice Atherton
and Willie Edouin in Farnie's burlesque of Blue Beard.
Two of the ladies who impersonated peasant maids were char-
ming Ethel and Maude Branscombe. I remember some years
ago seeing clever Willie Edouin and his talented wife intently
watching a Punch and Judy show in Lime Street. They
seemed to thoroughly enjoy the performance, judging by the
smiles that wreathed their faces. Fred Broughton's Withered
Leaves and Pygmalion and Galatea were performed on Sep-
tember 6. In the company were Edward Smith Willard,
G. F. Leicester, and Edward Chessman. The following week
brought versatile Nelhe Power as Cherry in the burlesque
Cherry and Fairstar. The Kendals followed with The Lady
of Lyons, A Happy Pair, and She Stoops to Conquer. On
November 8, Jenny Lee made her first local performance in
the titular part in Jo.
Mentioning Miss Lee reminds me that because she
was so frequently seen as Jo she came to be regarded as a one-
part actress. A similar impression sprang up concerning
Joseph Jefferson and Signor Salvini because the one was
seldom seen save in Rip Van Winkle and the other save in
Othello. What short memories some persons have! Miss
Lee was a most versatile artiste, as those can testify who
saw her as IVIyles in the burlesque of The Colleen Bawn,
when played at the Strand Theatre, in London.
In 1876, Mr. Thomas Kittle was lessee of the Prince of
Wales. On March 6, Boucicault's Led Astray was presented.
Performances were given by Edward Compton, J. Elmore,
Ellen Barry, and C. A. Clarke, the dramatist. Sir Randall
ANNAivS OF THE LIVERPOOL STAGE 285
Roberts, Bart., made his first appearance on the local stage
on May i. Nellie Farren played Young Rip Van Winkle in
the burlesque of that name on June 12, and sang that amusing
song, ' The Two Obadiahs.' The following week Joseph
Jefferson gave his famous impersonation of Rip Van Winkle.
On October 9, 1876, Mr. Frank Emery opened the theatre
with J. F. McArdle's opera burlesque Zampa ; or, the Cruel
Corsair and the Marble Maid. Mr. W. S. Gilbert wrote the
following dialogue for the occasion, spoken by the lessee and
G. W. Anson : —
Mr. Anson —
' Ladies and Gentlemen — Upon my word,
I hardly like — tut, tut — it's quite absurd !
I've often pleaded for myself and never
Felt any kind of diffidence whatever ;
But now, somehow, it seems to me to-night
The words don't come so glibly as they might.
In point of fact, I'm pleading for another,
A gentleman who is (in law), my brother.
I ought — your kindly wishes to engage —
To swear he means to elevate the stage —
To raise, at any cost, his noble calling
From the dark abyss into which it's falling.
Now 'twixt ourselves, I much regret to say
It's my behef he wants to make it pay :
He's just the kind of sordid man I fear,
Who likes a modest profit every year ;
And means to make one. It's a thousand pities
The men who take good theatres in our cities
Should look upon it as their chiefest pride,
To set all money-making thoughts aside.
And by one rule, and one alone, be led,
" The piece is five acts, and the author— dead 1"
But no — he wants, by his own sordid showing,
To pay his company and keep it going.
And, sad to say, has quite made up his mind
To play the newest pieces he can find !
You'll understand (for you are men of sense),
All this is in the strictest confidence.
When he comes on — he's waiting at the wing —
Of course you'll hear me say the usual thing.
286 ANNAI.S OF THE LIVERPOOL STAGE
He begged I'd make a speech — I couldn't say " no." —
But you'll take my word, of course, " cum grano."
Mr, Frank Emery ! most charmed, I'm sure,
The British pubUc 1 Ah, you've met before !
A wandering stone — ^who, to the proverb's loss,
Has managed somehow, to collect some moss.
By dint of long and conscientious toil,
And comes to plant it in congenial soil.
A manager with views more truly sound
Could not in all the provinces be found.
His only aim is to improve the age
And elevate the sinking British stage ! '
Mr. Emery —
' Ladies and Gentlemen — my worthy friend
Has smoothed my path and simplified its end ;
I don't deserv'e to be be-lauded so.
But *' handsome is as Anson does," you know.
I'd gladly thank him but he isn't here —
Well, though he's thought it right to disappear,
He's stiU, " though lost to sight to Emery dear."
A truce to joking — this dramatic yoke
Upon my shoulders is indeed no joke !
No joke the fluttering hope and anxious fear
That surely season each succeeding year —
(And, what is still less like a joke indeed —
The hopes and fears of years that don't succeed).
Suffice to say, I'll do, with eager zest.
My very best to give the very best.
A manager with managerial " nous,"
Knows what is wanted in this " Little House."
There is a simple though a golden rule,
Well known to all dramatic Liverpool.
" Produce good pieces, well rehearsed and played,
Well dressed, well mounted — and your fortune's made ;
But mark this well — if you attempt to shirk
Your obvious duty and evade your work
By serving up third-rate dramatic messes.
With vamped-up scenery and dingy dresses.
And such imappetising kind of fare
Don't take the Uttle Theatre in the Square ! " '*
• ' Liverpool Daily Post,' October lO, 1876.
ANNALS OF THE LIVERPOOL STAGE 287
Mr. Emery's first Christmas production was The Sultan
of Mocha. His first pantomime, produced at Christmas, 1877,
was The Fair One with the Golden Locks, written by Charles
Millward. He was laughed at when he proposed to pro-
duce an elaborate pantomime on the small stage of the Prince
of Wales. But he persevered, and his ' first ' proved a big
success. The musical director of the theatre at this time
was John Bayliss.
On the last night (the sixty-second representation),
of The Fair One with the Golden Locks, Mr. Emery spoke the
following lines, from the pen of Charles Millward : —
* Ladies and gentlemen — kind patrons all.
Once more your Manager obeys Time's call.
Again, at your command, in rhyme, with reason,
He proudly notes the doings of the season.
In the first place, whate'er he said he'd do,
By Jingo, was done, and in fair style, too.
The " stars " announced throughout the bye-gone year.
Without exception twinkled brightly here.
(Curious to think how managerial bliss
Can be attained without a single miss).
The novelties he advertised — not few —
Proved for a wonder, absolutely new ;
And finding rapid changes not alarming,
He made you own variety was charming.
' Some months ago, when by success much flurried.
Into wild schemes with reckless speed he hurried —
Forgetting that the house he ruled was small.
His notions — using an old Yankee term — grew " tall."
" What Drury Lane or Co vent Garden do "
Said he " my little shop can do it too ;
" And by my managerial troth, this time
" The ' little house ' shall have a Pantomime ! "
Friends stood aghast, advisers button-holed him.
And his " home ruler " plainly her mind told him,
'Tis even said this man of iron will
Was offered an asylum at Rainhill !
A Pantomime 1 the notion seemed absurd.
And yet the Manager has kept his word ;
The " Fair One " is a fact, and not a scare,
A real pantomime in Claj-ton Square I
288 ANNALS OF THE LIVERPOOL STAGE
' How was it done ? It is not for me to say,
You have pronounced our piece a merry play.
Night after night, this house from floor to rafter
Has rung with hearty cheers and noisy laughter.
Our Manager is well-paid for his toil —
In fact, it may be said he has " struck oil " ;
To all the artistes from the " Fair One " down
To tiny Second ; also to our Clown
And his belongings, hearty praise is due.
And grateful thanks, also, dear friends to you.
The critics' kindness we can ne'er requite.
You know we've had the press here every night !
For one and all, therefore your Emery prays
For Fortune's brightest smiles, and happy days.
Encouraged by the past, I now may mention
It is the Lessee's stern and firm intention
To oifer you when next comes Christmas time,
Another — and a quite new — Pantomime.
And by your kind permission, Millward will
As author once more exercise his skill ;
Meanwhile, as Emery has shown great nous
By taking on long lease this little house.
He means to make improvements, and will strive
With might and main to keep the game alive.
For all this year you'll learn with satisfaction
He has secured each popular attraction ;
Your kind support he'll strive hard to deserve.
His motto : " You, my masters I'll well serve 1 "
Stand by him, friends and patrons, and, be sure,
He'll do his best your favor to secure ;
No efforts, labor or expense he'll spare
To keep the " little house " well " on the square." '
The i6yS-g pantomime was Little Goody Two Shoes.
During the first week in September, 1879, the Kendals, John
Hare, Albert ChevaUer and WiUiam Terriss were here. The
plays were The Ladies' Battle, A Quiet Rubber, and A Scrap
of Paper. Dora, and New Men and Old Acres were per-
formed on September 15, with Ellen Terry and Charles Kelly
in leading roles. In the pantomime of Cinderella, produced
ANNALS OF THE IJVERPOOIv STAGE 289
on December 26, Harry Fischer and T. F. Doyle performed.
In the harlequinade the part of clown was played by
Poluski, the Little, while Poluski, the Big, doubled the roles
of policeman and sprite.
On March 8, 1880, H. Beerbohm Tree made his appear-
ance as the dandified old marquis in the comic opera of
Madame Favart. On April 19, the first performance in
Liverpool of Carmen was given by the Carl Rosa Opera
Company. Carmen by Georgina Bums ; Don Jose. Fred C.
Packard. On May ii, Cora Stuart, made, in Caste, her first
appearance here in comedy. In 1880 Emery stood as a
candidate for one of the Municipal Wards, but without
success. Red Riding Hood was that year's pantomime. It
was written by T. F. Doyle, and in it appeared JohnS.
Chamberlain, W. W. Walton, Miss Marie Stevens, and the
author. On June 13, 1881, H. Beerbohm Tree played Lambert
Streyke in The Colonel, a piece that was so successfully
toured by Edgar Bruce for a number of years. August i
saw something of a novelty, Les Cloches de Corneville being
played entirely by children. This Lilliputian organisation
was under the management of Charles Bernard. The 1881-2
pantomime was Aladdin. On February 27, 1882, Messrs.
J. Com>Tis Carr and Thomas Hardy's Far From the Madding
Crowd was brought out for the first time on any stage.
That year's pantomime was Robinson Crusoe.
On ^larch 31, 1883, Henry Pettitt and F. W. Broughton's
comedy Sisters was produced. In this were George Walton
and Alfred Hemming. May 2 saw the first production of
the opera of Foxglove, written by Mr. Charles Dyall (then Cur-
ator of the local Walker Art Gallery), and composed by Dr.
Rohner. May 14 saw Lila Clay's Company, consisting
entirely of ladies (sixty in all), in the comic opera An Adamless
Fden. On July 16, Sothern opened in Our American Cousin.
A. W. Pinero's play The Rocket was produced by Edward
Terry on July 30, for the first time on any stage. The comic
opera, entitled Captain Kidd ; or, the Bold Buccaneer, written
by G. H. Abbott, and composed by F. Solomon, was produced
for the first time on any stage on September 11. On Monday,
December 4, the Crown Prince of Portugal and suite visited
the theatre and saw Edward Terry in The Rocket. On the
entry of the Prince in the middle of the first act he met with
290 ANNALS OF THE LIVERPOOL STAGE
a most enthusiastic reception from the audience. His Royal
Highness appeared to thoroughly enjoy the performance.
Few who were present on that occasion dreamt that the
Prince was to end his life, (after he had ascended the
Portuguese throne as King Carlos), by the hand of an
assassin.
Beauty and The Beast, which was produced at Christmas,
1883, was the last of Emery's pantomimes. The annual was
written by J. F. McArdle and F. J. Stimson. Miss Maude
Branscombe, E. J. Lonnon, F. J. Stimson, and Fawcett
Lomax were the chief exponents.
In April, 1884, Mr. Alexander Henderson returned to the
Prince of Wales, which up to the end of August of that year
•was under the joint management of Messrs. Emery and
Henderson. The theatre was improved internally and
externally. The front, facing Clayton Square, was raised,
and an ornamental model of the Prince of Wales's feathers
erected. Above this the name of the theatre was lettered
in gold. The acting manager of the theatre was the late
Walter Hatton. From September 22, 1884, and for some
months afterwards, Mr. Henderson was sole proprietor. His
pantomime in 1884 was Sinbad the Sailor.
In the spring of 1885, Miss Fanny Josephs took over the
theatre. The opening performance took place on Monday,
April 6, when The Candidate was played by Charles Wyndham's
Company. Mr. A. Mascard — afterwards succeeded by Mr. W.
McNeill — was Miss Josephs' manager. On Monday, June 8,
following, a local gentleman, Mr. Francis Drake, although
wholly inexperienced in the ways of the stage, essayed to
act Macready's great role of Richelieu. As might have been
•expected the experiment did not set the Mersey on fire.
Miss Josephs' first pantomime (1885-6), was Dick Whit-
tington and His Cat. The following Christmas The Babes
in the Wood was produced, the libretto by Fred Locke. The
principal fun and melody-makers were Jenny Dawson, Minnie
Byron, the Sisters Leamar, Johnny P. Dane, Patsy Harvey,
Walter Andrews and Hal Forde. Miss Josephs' 1887-8 ex-
travaganza was Blue Beard. J. L. Shine, Tom Bass, M. Girard,
and Miss Vane Featherston were in the cast. On March 23,
1888, T. Edgar Pemberton's one-act comedy Steeple Jack
was presented, in which Lionel Brough appeared. Little Jack
ANNAI^ OF THE I^IVERPOOIv STAGE ^ 291
and the Big Beanstalk was the feature of the succeeding Christ-
mas, and in it were Billee Barlow, Agnes Hewitt, Nelly
Navette, Edgar Granville, and Horace Wheatley. Miss
Josephs' fifth pantomime was Aladdin by F. W. Pratt, pre-
sented on December 23, 1889. It proved to be her last, as
she died in the following year.
Captain Wombell next took up the reins of management,
opening on Monday, August 25, 1890, with Edward Terry and
his company. On September i, Harry and Edward A.
Paulton's three-act farcical comedy Niohe was produced, and
seven days later A Toung Pretender was performed by Yorke
Stephens's company. Captain Wombell's first annual was
F. W. Pratt's Robinson Crusoe, produced on December 23,
1890, with Jenny Dawson, WiUiam Morgan, Fred Eastman,
and Walter Passmore as principal artistes. Red Riding Hood
was the attraction of Christmas, 1891. The principal perfor-
mers were Jenny Rogers, Amy Augarde, Marie Montrose, Topsy
Sinden, and Vesta Victoria. Ali Baba and the Forty Thieves
produced on December 23, 1892, was Captain Wombell's third
pantomimic venture. In this were Fred Wright, junr., and
Frank Danby. The ' book ' was again by F. W. Pratt. In
September of 1893, three weeks of variety entertainment were
given, the late Jenny Hill being one of the ' stars.' Cinderella,
written by Geoffrey Thorn, and produced on December 23,
1893, made Captain Wombell's fourth Prince of Wales annual.
The 1894-5 extravaganza was The Babes in the Wood, also by
Geoffrey Thorn, produced on December 22. Leading
parts were sustained by Maud Boyd, Mabel Love, Russell
Wallet, Fred Williams, and Wilfred Cotton. December 21,
1895, witnessed Addie Conyers, Julia Kent, Nellie Christie,
H. C. Barry, Harry Phydora, W. Vokes, Fred Williams, and
Turle and Volto in Geoffrey Thorn's Robinson Crusoe. The
theatre was now under the joint direction of Captain Wombell
and Mr. Harold B. Nelson.
On March 23, 1896, Mr. H. B. Nelson commenced his
reign as sole proprietor and manager of the theatre in presen-
ting The Passport. Mr. Nelson's brother, Mr. H. Adair
Nelson was the general manager, and Mr. E. Hashngton Russell,
the acting manager. The 1896-7 annual was Aladdin. Lottie
Collins, Addie Conyers, J. F. McArdle, John Humphries, Fred
Eastman, and George Mozart made up a strong cast. The
292 ANNALS OF THE IvIVBRPOOL STAGE
pantomime was from the pen of that clever dramatic author,
J. James Hewson, who wrote all Mr. Nelson's annuals.
Speaking of Mr. Hewson reminds me tliat he has now for many-
years been the esteemed local critic for ' The Stage.' He
has also for some considerable time past exercised his
acumen as dramatic editor of * The Porcupine.' His honest
and fearless criticisms are eagerly read and enjoyed in the
theatrical world. He is also the author of a number of suc-
cessful plays and books. Mr. Hewson is about the last of the
Old Guard of local dramatic critics, which included able
writers hke the late J. B. Mackenzie and J. N. Petrie, both of
whom were for many years on the staff of the ' lyiverpool
Mercury.'
JVIiss Marie Loftus succeeded Lottie Collins as the Princess
in Aladdin. On March i6, 1897, Addie Conyers was accorded
a benefit when Miss Loftus plaj^ed Clown in the harlequinade,
supported by Miss Conyers, and Messrs. Mozart and Eastman.
In Mr. Nelson's second pantomime (1897-8), Red Riding
Hood, there were seen Minnie JeflFs, Mabel Love, Eugene
Stratton, and W. W. Walton. Two first performances on
any stage took place in 1897. The first on September 27,
was J. H. Darnley and H. A. Bruce's Shadows on the Blind,
and the second on November 29, the same authors' farcical
comedy of Guy Fawkes Day. Dick Whiitington was the next
Christmas annual. \^esta Tilley played Dick, supported by
Olive Marston, Walter Groves, Freddie Farren, John Humph-
ries, W. T. Thompson and Albert Christian. On May 16,
1898, Mrs. Brown Potter and Kyrle Bellew came. The
following week saw Kate Vaughan here. On December 23,
1899, Cinderella was produced. Performances were given
by G. P. Htmtley, Fred Emney, Eugene vStratton, Tennyson
and O'Gorman, Ida Rene and Lil Hawthorne. Sinbad the
Sailor, produced on December 24, 1900, was the last panto-
mime given by Mr. H. B. Nelson, as he died, greatly regretted,
in the spring of the following year. In this Claire Romaine, as
principal ' boy,' had capable and efficient alhes in Frances
Earle, Frank Danby, Albert Le Fre, and John Humphries.
After H. B. Nelson's death, Mrs. Nelson ran the theatre
for a short time, the last performance being given on Saturday
evening, June i, 1901, when The Private Secretary was played
by Mr. Eugene C. Stafi'ord's Company. In the following.
ANNALS OF THE LIV-ERPOOL STAGE 293
month an effort was made to dispose of the property by-
auction, but no sale was effected, the highest price offered
being £13,000. Incidentally, it was stated at the auction
that during the thirteen weeks' nm of the Cinderella panto-
mime, Mr. Nelson's takings had amounted to over £17,000
The theatre having remained without a tenant from June
1901, the property in the autumn of that year came under
the control of Mr. G. C. Cleaver, who opened the house
on November 25, with the North American Animatea
Picture Company. On January 20, 1902, vaudeville enter-
tainments were commenced, the Sisters Levey and the FoUies
being billed as the bright particular stars. Other variety
performances followed in due course. On one occasion Hack-
enschmidt, the great Russian wrestler, was announced to
appear, but owing to some dispute between the manager of
the theatre and the muscular star, the former determined
that no performance should take place, and not only discon-
nected the electric hght installation, but to make assurance
(as he thought), doubly sure, cut off the gas as well.
Nothing daunted, however, the Russian lion managed to get
the gas restored in the nick of time, and the wrestling contest
took place after all !
A new era dawned for the ' little House in the Square '
when it was opened on September i, 1902, by Messrs. C. St.
John Denton and George Blunt. Mr. George Mallet was the
courteous general manager, and our townsman, Mr. William
A. Armour, was the acting manager. The theatre opened with
the dramatic sketch, All in the Family, which was followed
by the new farce. Off the Rank. Leading roles were sustained
by WiUie and May Edouin. Blue Bell in Fairyland was pre-
sented on December 24, with Mabel Love in the title part.
When Blue Bell in Fairyland was withdrawn after a most
successful run, it was followed in 1903 by Mr. Stanley Rogers'
version of the Babes in the Wood. MilUe Lindon, Harry Ran-
dall, and Wilkie Bard took part in the pantomime. The
same year saw the production on December 24, of Puss in
Boots, written by J. James Hewson. In the earty part of the
succeeding year Goody Two Shoes was presented. This was
the last pantomime given by Messrs. Denton and Blunt who
shortly afterwards retired from the management. In 1904
the Prince of Wales was taken by Mr. J. H. French, who
294 ANNALS OF THE LIl^RPOOL STAGE
presented Red Riding Hood on December 24. The following
year the house closed, and since then it has not been utilised
for theatrical purposes. What, one wonders, is to be the
fate of the once famous ' Httle House in the Square,' with
which so many bright histrionic memories are associated ?
THE ROTUNDA THEATRE.
Forty-five years ago, there stood on part of the site of
the present Rotunda Theatre a pubUc-house, wherein a ' free
and easy ' was held nightly, the vocaUsts appearing on a
small stage which has been described as ' about as big as a tea
board.' Afterwards Mr. Dennis Grannell, the proprietor,
moved the concert hall business to an upper, and more com-
modious room. About 1866 or 1867, sketches were given to
supplement the light musical fare and a larger stage was
built. The stage, now located at the south end of the building,
was, previous to the disastrous fire of July 9, 1877, situated
at the opposite extremity. In 1866 prices of admission were
as follows : — ' Boxes, is. 6d. ; stalls, is. ; body, 6d. ; by the
new entrance in Stanley Road.'
In 1869, the first pantomime was given. It was a con-
densed version of Jack, the Giant Killer. Mr. and Mrs. Leno
and little Dan Leno appeared in it. Mrs. L^no played the
giant-slaying hero of time-honoured memory.
On August I, 1870, Charles Wood, who for five years
had been at the Adelphi as musical director, came to the
Rotimda in the dual capacities of musical and stage director.
For over a quarter of a century Mr. Wood was associated
with the theatre, and in later years in a managerial capacity.
At Christmas, 1870, the first ' full ' pantomime Dick Whit-
iington was given, and from that date down to April 6, 1874 —
when the first stock season was inaugurated — the entertain-
ments given were principally those provided by the concert
hall and vaudeville companies, interspersed with occasional
dramatic pieces.
In 1871, the first complete drama was played. This was
Arrah-na-Pogue, and it was performed by the Boucicault
Amateur Dramatic Societ>'. The second dramatic perfor-
mance was given in the same year by the Boucicault
ANNALS OF THE LIVERPOOL STAGE 295
Amateurs, when they submitted The Colleen Bawn. The
House that Jack Built was produced at Christmas.
The first musical drama presented at the Rotunda was
J. B. Buckstone's The Daughter of the Regiment. It was pro-
duced on August 19, 1872, with Lady Don in the part of
Josephine, supported by the Rotunda Vaudeville Company.
The play ran for six nights. The Babes in the Wood was pre-
sented at Christmas.
Little by little the old concert-hall business was abandoned,
as Mr. Grannell and Mr. Wood saw that for the popular taste
the play was the thing. Therefore, to provide for the
newer order of affairs, a new gallery, balcony, stage, and
sixteen private boxes were erected in 1873, the theatre being
kept open for performances during the alterations by the use
of tarpaulins as a roof covering. The brass rail which encir-
cled the gallery became, ultimately, an object of considerable
dread to the ' gallery ites,' as attached to it was an electric
battery, so that any sacrilegious hand laid upon it received
an electric shock. This proved an admirable way of keeping
the rail untarnished.
Among those who appeared at the Rotunda from 187 1
to 1873 were Basil Henrj-, Tom Maclagan, Edward Sennett,
Barry Aylmer, T. F. Doyle, J. R. McLaren, Walter Searle,
Herbert Campbell, George Vokes, Brinsley vSheridan, George
Whyte, Edward Towers, Emily Randall, Ada Tisdall, Nelly
Towers, Johanna Blake, NeUie Vezin, Rose Lucille, Alice
Dodd, Mrs. Juha Lewis, and the Alexander Family.
On May 10, 1873, Adrian de Brescia and his company
commenced a three weeks' engagement. Guy Mannering was
played during the first week, Rob Roy, the second, and
The Octoroon the third. Little Red Riding Hood was that
year's Yuletide attraction.
The first stock season ran from April 6, 1874, to August
15, a period of nineteen weeks. The principal artistes were
Messrs. Arthur Lyle, Henry Vandenhoff, A. McPherson,
Charles Domton, C. J. Archer, J. C. Turner, Edward
Courtenay, F. Harland, William Holston, Charles Kennion,
James Elmore, Henry Percy, E. de Grisy ; Misses Emily
Forde (Mrs. Kennion), Lizzie King, Kissie Wood, Agnes
Wood, Annie Morton, EHza Gordon, Annetta Brown,
Josephine Fiddes and Mrs. Henrj^ Vandenhoff. On August 17
296 ANNALS OF THE LIVERPOOL STAGE
the concert-hall business was again resumed, and con
tinned down until December 26, when the pantomime
entitled Ptcss in Boots ; or, the Princess Fair, the Ogre Rat,
the Miller's Merry Son, and the little Manx Cat was pro-
duced. Fanny Wiseman, Annie Richardson, and Ada
Luxmore were in the cast.
On the conclusion of the pantomime variety entertain-
ments were given for four weeks, and for the last time in the
old Rotunda. Then followed the second stock season which
commenced on March 29, 1875, and ran for 39 weeks, beginning
with the Lost Diamonds, in which Ennis Lawson appeared,
and ending on December 23, 1875, with Louis XI, with
James Bennett in the nom-rdle. In the company were
C. A. Clarke, James Carr, Arthur Lyle, John S. Chamberlain,
James Elmore, Robert Brough, C. J. McConnell, John
Vernon, J. S. Foote, W. Constantine, Mr. and Mrs.
Clarence Holt, Mr. and Mrs. Henry Vandenhoff ; Misses
Eliza Gordon, Kissie Wood (now Mrs. H. C. Arnold), Agnes
Birchenough, Elise Maisey, Ellen Beaufort, Fanny Wiseman,
Jenny Hardcastle and Mrs. Charl^ Wood. Dion Boucicault's
drama. The Colleen Bawn, was produced on Monday, April 25,
with entirely new scenery, and was played for three weeks.
Charles Sullivan was specially engaged to play Myles. On
Monday, May 17, Hamlet was produced with Osmond
Tearle in the titular part. Miss Eliza Gordon was the
Ophelia. The production was most successful, and had
an uninterrupted run of 18 nights. jMr. and Mrs. Saker,
from the Royal Alexandra Theatre, then fulfilled a fortnight's
engagement, and in their company was Arthur Wing Pinero,
the now well-known playwright. On December 27 was pro-
duced Cinderella. The annual ran for ten weeks. It was
from the pen of a local journalist, J. F. McArdle, who in the
same year had two other pantomimes running in Liverpool.
Mr. McArdle was the author of a host of pantomimes,
plays, and comic songs. His pantomimes were always
eminently successful ; in fact it was frequently said with
truth that everything that ' Mac ' wrote made a hit. Some
of his earliest efforts first saw the light at the Rotunda.
Mr. McArdle died at his mother's residence in Liverpool on
February 21, 1883, and was interred in Ford Cemetery.
ANNALS OF THE LIVERPOOL STAGE 297
It was about the year 1875 that our townsman, James
Kiernan, entered Mr. Grannell's services as a checktaker at
nine shillings a week. Afterguards he rose to be bill inspec-
tor, and eventually succeeded to the position of assistant
manager to Mr. Charles Wood. Mr. Kiernan left the Rotimda
after nine stock seasons, in order to open the Westminster
Music Hall in partnership with Mr. Thomas Montgomery.
Since then Mr. Kiernan has never looked back, his success in
the entertainment world being as great as it has been wdl-
deser\'ed.
On Monday, March 6, 1876, the third stock season
commenced. The opening attraction was Clancarty, with
Walter Speakman prominently to the fore. The season
terminated on December 23, when W.H. Pennington appeared
as Othello. In that year's stock company were Messrs.
E. D. Lyons, John S. Foote, George T. Minshull, Sydney
Hazlewood, Mark Melford, Richard Mansell, Charles Morgan,
Arthur Ricketts, W\ S. Branson, H. C. Arnold, Barry Stuart,
T. H. Potter, Lionel Rignold, Osmond Tearle, Fred Selby ;
Misses Maud Brennan, Ellen Beaufort, Kissie Wood,
Henrietta Temple, Elise Maisey, Agnes Birchenough, Ada
Neilson, Mrs. Charles Wood, Mrs. Robert Power, and Mrs.
Charles JMorgan. Aladdin was the 1876-7 annual, Lizzie
Willmore being principal ' boy.' It ran for ten weeks.
The fourth stock season opened on March 5, 1877, with
King Lear, and terminated on vSaturda5^ July 7, 1877. On
the Monday following the theatre was destroyed by fire.
The last play given in the old Rotunda was The Shaughraun,
with Charles Sullivan as Conn. The final stock season in
the old theatre comprised some notable performers, including
Charles Dillon, Ed-.vard Smith Willard, Tom Maclagan,
H. C. Arnold, T. Nemey, J. S. Chamberlain, Bella Mortimer
(Mrs. Charles Dillon), Dora Usher, and Mrs. John Carter. A
new and more commodious theatre, erected from the designs
of Mr. C. J. Phipps, F.S.A., by Messrs. Haigh and Co., of
Liverpool, was opened on Friday, December 20, 1878, under
the patronage of the Mayor of Liverpool, The opening
attraction was Benedict's opera The Lily of Killarney, pre-
sented by the Carl Rosa Opera Company, who were engaged
for tAvo nights. The following night they played Balfe's
Bohemian Girl. On the ensuing Monday Charles Sullivan
298 ANNAI.S OF THE LIVERPOOI, STAGE
and company in The Shmighraiin were the attraction, and
for several weeks afterwards Irish dramas were played.
Then a stock season — the first in the new theatre — began.
In this were Messrs. Henry Hampton, Arthur Lyle, Walter
Speakman, Lionel Rignold, H. C. Arnold, William Gourlay
(Scotch comedian), G. T. Minshull, Dora Usher, Caroline Elton,
Annie Wilmot, and Kissie Wood. The first pantomime pro-
duced (December 26, 1879), ^^'^^ Dick Whitiington. It was
written by the late Charles Millward.
Down to|^ 1888 — when the proprietorship of the theatre
was transferred to a limited company — stock seasons year
by year were the rule. Those old stock days turned out many
actors who are now in the foremost ranks of the profession ;
and Charles Wood, in watching their early faltering footsteps
with a fostering^care, proved to be their ' guide, philosopher,
and friend.'
In speaking of the old stock days at this theatre, ' Teddy '
Lewis once amusingly recoimted to an interviewer* how on
one occasion he was playing the old notary in Elizabeth —
Miss Marriott being the ' star ' — and in the chamber scene,
when making I, his exit, unintentionally backed into a large
fire-place, a quite delightfvil misadventure to those spectators
with an eye for the incongruous. On another occasion John
S. Haydon was playing Mathias in The Bells. At a critical
moment a noise is heard which makes the guilty Mathias
exclaim, ' WTiat's that ? ' ' Instead of giving the correct
reply,' says Lewis, ' I was inspired to shout " Somebody's
dropped their socks." My hfe was in danger when the
curtain went down.'
The roof of the present Rottmda, with its masts, spars,
etc., somewhat resembles the deck of a ship. In the old stock
days many of the actors went up aloft to learn their parts
and be refreshed by the breezes.
On July 26, 1880, Kissie "Wood played Jo for the
first time in Liverpool. Miss Marriott came in November,
and T. C. King in December. Sinhad the Sailor, by J. F.
McArdle, was the Christmas piece. Leading parts were sus-
tained by the Majiltons (Frank and Marie), Walter Andrews,
and Bella Richardson.
• ' The Sunday Chronicle,' May lo, 1896.
ANNALS OF THE LIVERPOOIv STAGE 299
Early in 1881, John Coleman and his company appeared
in Katherine Howard. ]\Iiss Marriott played good Queen Bess
in Elizabeth on July ii. Walter Groves performed the small
part of Hudson. The following week Miss ^Marriott portrayed
Hamlet. John S. Haydon was the Ghost, and Miss Kissie
Wood Osric, and Fred Coles Francisco. Joseph West was at
that time a member of the stock company-. Mr. West, who
who is now a member of the weU-known Liverpool firm
of Messrs. Simon Jude and West, joined the stock
company on Easter Monday, 1881, and remained until
the end of July when he left for the Theatre Royal,
Plymouth. Performances of The Rivals and She Stoops to
Conquer were given during the week commencing August 22,
by a company which included C. W. Somerset, and Mrs. Chip-
pendale. A special production of Rob Roy was given on
September 26. Prominent in the cast were John S. Haydon,
J. K. Walton, Joe Bracewell, and Kissie Wood, Ellen Beaufort,
and Myra Rosalind. Jack the Giant Killer was performed
at Christmas.
April 23, 1882, brought Jenny Willmore and company
in the burlesque opera entitled Little Pygmalion. Miss Marriott
appeared as Romeo for the first time at the Rotunda
on June 5, sustaining the part brilliantly for a week to good
houses. Alice Finch was the Juliet. Cinderella, played by a
double set of performers, was produced on December 23.
Henry Loraine performed Richard III on May 7, 1883.
A Liverpool lady, Miss May Douglas, portrayed Pauline in
The Lady of Lyons on October 8. John Dewhurst gave a
finished performance of Richelieu on October 22. Little Red
Riaing Hood ; or, Harlequin Boy Blue, the Good Fairy and the
Naughty Wolf, written by F. W. Green, with local illusions by
J. James Hewson, was that year's pantomime. Kissie Wood
played Boy Blue, and Florence Leyboume Irradianta,
the Good Fairy ; Major Crackles appeared as Simon Simple,
and Fred Coles as Mother Shipton. The pantomime also had
a double cast, the morning performances being given by
children, and the evening by adults. Several of these juven-
iles afterwards achieved distinction on the stage. One of
them was Miss Maud D'Ahnaine, who played Irradianta.
She is now Mrs. Thomas Barrasford.
300 ANNALS OF THE LIVERPOOL STAGE
Richard Mansell appeared in the titular part in The
Unknown on March 3, 1884. On May 20, F. R. Benson made
his first appearance in Liverpool, when he played Hamlet,
supported by the stock company. In June, 1884, Mr. GranneU
proposed to the Committee of the Liverpool Eisteddfod to
give a prize of twenty-five guineas for the best libretto on the
subject of The Babes in the Wood for his 1884-5 pantomime.
The ofi'er was accepted, and in October the prize was
unanimously awarded to a local gentleman, Mr. Stanley
Rogers.
Miss Bateman gave her well-known impersonations of
Leah and Mary Warner during the first week in November,
1885. Katie Logan, Maud Haigh, Louie Scott, Payne Fletcher,
H. C. Barry, Alfred Rousby and Joe Burgess were in that
Christmas annual of The Forty Thieves ; or, Harlequin Ali
Baha and the Robbers of the Magic Cave. It was written by
J. WUton Jones of the ' Leeds Post.'
Miss Marriott and Miss Bateman were the principal stars
during 1886. The pantomime of Robinson Crusoe was pro-
duced on December 27. Aladdin ; or, the Wonderful Lamp
was given the following year.
In March, 1888, the theatre joined the ranks of the limited
liability companies under the style of the Rotunda Theatre
Company, Limited. The directorate included Messrs. John
Howard (Mayor of Bootle), Alderman Edward Grindley,
CaptainR. B. Bainbridge, and Mr. D. Grannell, with Mr. C.Wood
as secretary. The share capital was divided into 25,000 shares
of £t each. Of these £5,000 were allotted to Mr. Grannell in
part payment of the purchase money. Mr. Grannell on his
part transferred the theatre, the billiard-room, and the
American bowHng alleys to the new syndicate.
The noted pantomime writer, Walter vSummers, played
in Tempest Tossed on May 28, 1888. Harry Nicholls and
Arnold Bell performed in Youth on June 11. When Round
the Clock was played the following week Walter Passmore
appeared as Mr. Denby, and Arthur Ricketts as Gabriel
Gadforth. John Glendinning, Edward Lewis, and James
McWilliam were also here about this time. The Rousby
Opera Company came on September 3. Maude Branscombe
sustained the title-part in Cinderella at Christmas.
ANNALS OF THE LIVERPOOL STAGE 301
On Monday, April i, 1889, a new musical comedy drama
from the joint pens of Horace Wheatley and C. A. Aldin,
entitled Bright Days ; or, the Bride of Two Isles was produced.
An old Rotunda favourite, Valentine Smith, came with his
opera company on September 23, 1889. Sinbad the Sailor
was produced on December 26. Miss Minnie Rotchley was
the sailor hero, and Louie vScott the Princess ; while comic
parts were sustained by Fawcett Lomax, and Joe Bracewell.
Miss Katty King, daughter of T. C. King, appeared as
Norah O'Sullivan in Ballyvogan on October 13, 1890. The
author, Arthur Lloyd, performed Mr. McCrindle. Miss
Minnie Mario, of the Sisters Mario, represented Robin Hood
in The Babes of the Wood at Christmas. Walter Groves and
Joe Burgess played the two robbers.
John S. Hay don performed as Rob Roy in a special pro-
duction of that play on June i, 1891. A fortnight later A.
L. Baron appeared as Coupeau, and Eleanor Reardon as
Phcebe Sage, in Drink. ^Misses Minnie Mario, Topsy Robina,
and Amy Rogerson ; Messrs. Martin Adeson, J. H. Booth, the
Sisters Glen, and the Arlottis took part in that year's
pantomime of Dick Whittingion.
Performances of Mary, Queen of Scots, Elizabeth, and Leah
were given during the week commencing May 23, 1892, by
Miss Claire Scott. In the company was William Terriss, who
was seen as the Earl of I^eicester, Burleigh, and Lorenz.
Fred Locke's Little Bo-Peep was brought out at Christmas.
Miss Maud Stafford portrayed Boy Blue.
Late in Ma5\ 1893, Hermann Vezin gave notable per-
formances of Hamlet, Othello, Shylock, and Richelieu.
Jack and Jill ; or, the Lancashire Witches and Mother Goose,
was that year's annual. It was from the pen of W^illiam
Wade, the well-known journalist.
On June 4, 1894, Mr. and Mrs. A. B. Tapping played in
Jim the Penman, Money, and The Lost Paradise. Mary,
Queen of Scots, Hamlet, Catherine Howard, and East Lynne
were performed by Mrs. Bandmann-Palmer and her company
during the week commencing November 19, 1894. Wilton
Jones's version of The Forty Thieves was produced in
December. Miss Clara Bernard played the Prince in Cinder-
ella, in the 1895-6 pantomime. Mr. and Mrs. Frank Harvey
introduced Brother against Brother, and The Land of the Living
302 ANNALS OF THE LIVERPOOIv STAGE
•during the third week in May, 1896. Old King Cole was given
at Yuletide. Mr. Richard Flanagan's pantomime of Aladdin,
from the Queen's Theatre, Manchester, was presented on Feb-
ruary 8, 1897.
Down to 1898 the theatre was nm by the Rotunda Theatre
Company, Limited, but in that year the property was acquired
■by Messrs. Bent's Brewery Company, Limited. Mr. Matthew
Montgomery succeeded Mr, Charles Wood as manager of the
theatre. The Christmas pantomime for 1898 was Robinson
Crusoe, produced by Messrs. Forster and Schaller. Miss
Emily Stevens was ' principal boy.' In 1899, Messrs. Bent
reconstructed the interior of the theatre to the best possible
advantage, and so great was the transformation that the
old Rotunda hahitu^ had to rub his eyes in sheer wonder-
ment. The re-opening took place on Monday, September
4, 1899, the attraction being Hubert O'Grady and company
in The Fenian. The Babes in the Wood was given at Christ-
mas, and on January 15, 1900, Dick Whittingtonwas submitted
with the late Minnie Mario in the title-part.
On September 5, 1902, Charles Wood, who was bom in
1833, died at Bollington, near Macclesfield, where he had been
for some time living in retirement, Mr. Wood was buried in
Anfield Cemetery^ Liverpool, At the time of his decease
the following sympathetic acrostic was written by the late
John S. Haydon : —
CHARLES WOOD.
* Charles, thy earthly cares are ended.
Heaven's house of rest is won.
All thy years with toil were blended,
Resolute life's path you wended,
Loved, esteemed by every one ;
Ever friendship's hand extended,
Sleep in peace 1 God's will be done I
Well may youth thy precepts borrow
Old friends staunch to thee remain.
One, now pens these lines in sorrow,
Dreaming, sees thy face again 1'
ANNALS OF THE LIVERPOOIv STAGE 303
Upon Mr. Montgomery's retirement from the manage-
ment of the theatre in 1903, he was succeeded by his son, Mr.
Matthew Montgomer}^ who has done much to enhance the
reputation of the Rottmda as one of the principal homes of
melodrama in the provinces.
THE ALEXANDRA THEATRE
(AFTERWARDS THE EMPIRE).
The Alexandra Theatre* was erected in 1866, by Messrs.
Jones and Son, of I/iverpool, from designs by Mr. Edward
Solomons, F.R.I.B.A., architect, of Liverpool and Man-
chester. The style is Italian treated in a free manner. The
lower storey of the fagade is composed of a series of five
arches, with pilasters, surmounted by carved capitals. The
space between two of the arches is now occupied by shops.
WTien the theatre was first opened the arch to the left was
used as the entrance to the carriage-drive, leading to the
principal parts of the house. That to the right was the
entrance to the pit-circle ; that in the centre for visitors to
the stalls, dress-circle, etc. The two others formed shops, to
one of which were attached extensive supper rooms. The
lion heads in the above-named capitals serve for ventilation,
the mouths being pierced for the purpose. In the tympanum
are heads of Shakespeare, Schiller, Mohere, Beethoven, and
Rossini — emblematical of the Drama and Music. The
entablature is of a rich and ornate character, containing panels
in the frieze which serve as windows. The cornice is supported
by carved medaUions ; and the whole is surmounted by a per-
forated and enriched balustrade. In fact the projectors of
the building left nothing undone to render it one of the
handsomest theatres in the provinces.
The proprietors of the building were the Alexandra
Theatre and Opera House Company, Limited, registered on
November 10, 1864. The first directors were Messrs. Ben-
jamin Heywood Jones (chairman), James Glynne Bateson,
Thomas Arthur Bushby, Thomas Gair, Thomas Dyson
Hornby, Isaac L. Kohn Speyer, Andrew George Kurtz,
• The site of the theatre had previously been occupied by Charles Gamer's I,ivery
Stables.
304 ANNALS OF THE LI\^RPOOIv STAGE
William Langton, Edwin Latham, William Henry MacLean,
William Marriott, George Melly, Gilbert Winter Moss,
Frederick Earned Mozley, Francis Gerard Prange, Charles
K. Prioleau, Philip Henry Rathbone, Charles Stoess, John
Swainson, and George Henry Wakefield.
The foundation stone was laid b}^ Mdlle. Titiens on Jan-
uary 13, 1866, and the theatre was opened not as the Alexandra
but as the New Prince of Wales Theatre and Opera House on
October 15, 1866. The performance commenced with the sing-
ing of the National Anthem by the Italian Opera Company,
the solos being taken by Mdlle. Titiens and Mr. (now Sir)
Charles Santley.* Afterwards Mr. and Mrs. Alfred Wigan
spoke an original address written by Tom Taylor. Then
followed Fatist, with the undemoted cast : —
Faust, Signor Mario.
Valentino, Mr. Santle5^
Mephistopheles, Signor Gassier.
Wagner, Signor Bossi.
.Siebel, Mdlle. Wiziek.
Marta, Mdlle. Baumeister.
Margherita Mdlle. Titiens.
// Don Giovanni was given the following night. Then followed
performances of Der Freischutz, II Trovatore, Nozze di Figaro,
Norma, Huguenots, Marta, Semiramide, and Lucia de Lammer-
moor. The conductor was Signor Arditi ; and the ballets
were arranged by ^Ir. J. Lauri.
Antony and Cleopatra, on February 18, 1867, was the first
of a number of successful vShakespearian revivals brought out
at this house. Leading characters were sustained by Walter
MontgomerA', Edward Saker, and Miss Reinhardt. Mr. and
Mrs. Charles Kean made their debut here on May 13 of the
same year, when Henry VIII was presented. This was their
farewell visit to Liverpool, and it turned out to be the period
of Charles Kean's final appearance on the stage. The Keans
were engaged for a fortnight. On ^londay, May 27, Charles
Kean electrified his audience with his rendering of Macbeth.
The following night he performed Louis XL This was his
• One of those who joined on the stage in singing ' God Save the Queen ' was a
talented young lady named Miss Marie O'Beirne, who was studying for ItaUan.Opera,
l,ittle did she think that she would one day direct the destinies of the theatre.
ANNALS OF THE LI\^ERPOOL STAGE 305
last appearance on an}^ stage, for on the Wednesday night
he was too ill to perform, and the part of King Lear had to
be undertaken by J. F, Cathcart. Charles Kean died on
January 22, 1868, and Mrs. Kean retired from the stage
immediately afterwards.
In 1867 H. J. Byron became lessee of the theatre in
succession to Alexander Henderson. During his short lessee-
ship the acting management was in turn in the hands of
Mr. English (who afterwards died in Calcutta), and Mr. Alfred
WTiitty, son of Michael James WTiitty, a gifted journalist
and the founder of the ' Liverpool Daily Post.'
On Monday, July 29, 1867, the house was first opened
under the name of the Royal Alexandra Theatre and Opera
House. This was the title originally chosen for the theatre,
and it was bestowed in honour of our present Queen, who
was at that time Princess of Wales.
Commencing October 7, 1867, a series of Italian operas
were given by a company which included such notable names
as Mdlle. Titiens, Madame and Signor TrebeUi-Bettini, Mdlle.
Sinico, and Charles Santley. Another memorable Shakes-
pearian revival took place on October 22, when The Tempest
was performed. Dearer than Life was played for the first
time on any stage on November 25. Manfred was produced
by Charles Calvert on December 9, with himself in the titular
part. New scener>' was painted for the production by the
Grieves.
A revival of A Winter's Tale took place on February 24,
1868, when the chief parts were played by Mr. and Mrs. Charles
Calvert. The following month they were seen in The Merchant
of Venice. On March 6, H. J. Byron resigned his lesseeship
of the theatre. Mdlle. Titiens and Charles Santley were again
here in October with the Itahan Opera Company. On Monday,
December 7, the theatre was opened under the management
of Edward Saker.* As You Like It was tlie attraction,
in which Miss Beatrice vShirley, Gaston Murray, and the lessee
played. Mr. Saker's first pantomime was Ali Baba and the
Forty Thieves ; or, Harlequin and the Magic Donkey. It
was preceded by A Kiss in the Dark.
F • Shortly before Mr. Saker undertook the management of the Alexandra he had the
offer of an engagement with Miss Marie Wilton (now I<ady Bancroft), as first low
comedian at the old Prince of Wales Theatre, I,ondon. j
3o6 ANNALS OF THE LIVERPOOL STAGE
On Monday, March 8, 1869, ^iss Bateman performed in
Leah. She was succeeded on April 9 by Mr. and Mrs. Charles
Mathews. On Easter Monday James Fernandez played the
titular part in the The King 0' Scots. June 7 saw Extremes ; or,
Men of the Day, and Paris ; or, Vive Lernpriere ! In the latter
piece Maria Saker and Kate Santley made their first appearance
on this stage. E. A. Sothern played during the week com-
mencing October 11. J. L. Toole was here in the following
month.
One night when Toole was leaving the stage door of the
Alexandra he was accosted by a bibulous rogue who in sober
days had been a decent fellow and a respectable actor. ' For
the Lord's sake, Mr. Toole, please lend me ten shillings I My
mother has just died, and I'm at my wit's end for money to
hury her.' ' Dear me ! ' replied Toole, who was one of the
most charitable and kind-hearted of men. ' How sad I Your
mother dead, you say ? Poor fellow I ' And half a sovereign
changed hands. On his next visit to Liv'erpool, Toole, on
a hot day in June was again accosted at the stage door by the
bibulous one. ' For Heaven's sake, Mr. Toole,' he said,
please lend a poor wretched fellow ten shillings ! My mother
is dead, and I don't know how to bury her.' * My good man,'
remonstrated Mr. Toole, ' You told me that she died nearly
three weeks ago, and now you say she isn't buried yet 1 In this
hot weather how can that be ? ' ' Look here, Mr. Toole,'
hiccoughed the toper, ' You're a great actor, I know, but who
the deuce is to know better when my mother died, you or I ? '
' The half sovereign did not change hands that night ' adds
Henry Herman, who tells the story.*
On another occasion when Irving and Toole both happened
to be playing at the same time in Liverpool they went out one
Sunday to dine at an old-fashioned hostelry on the outskirts
of Liverpool. After they had partaken of a good dinner
they sat chatting over their wine and cigars until the time drew
near for their departure. They then rang the bell for the
waiter to bring the biU. After he had gone, Irving and Toole
for a practical joke, gathered up all the fine old silver off the
table and placed it in the garden into which the room opened.
They then turned out the gas, and crept under the table.
• • Between the Wlilffs,' p. 178-9.
ANNALS OF THE LIVERPOOIv STAGE 307
The waiter after repeatedly knocking at the door looked into
the room. When he saw the lights out, the window open,
and the guests gone, he cried out, ' Done ! They have bolted
with the silver ; Thieves ! Thieves ! ' and went to alarm
the house. After he had gone, Irving and Toole came from
their place of concealment, closed the door, lighted the gas
and replaced the silver upon the table. They had no sooner
done this when the landlord and his family; guests en deshabille
and the servants of the house — some of them carrying pokers,
etc. — burst into the room. The landlord and the others stood
amazed, for there the two gentlemen sat quietly smoking
their cigars. Irving then asked them in his quiet gentlemanly
voice : ' Do you always come in like this when gentlemen are
having their dinner ? ' Their answer is not recorded.*
Mrs. Stirling performed Peg Woffington in Masks and
Faces on November 22, 1869. Phelps played during the early
part of December. That year's pantomime was entitled
Robin Hood. Miss Rachel Sanger played the principal part,
G. W. Anson was the baron, and Walter Hildyard the clown.
The pantomime was preceded by a comedietta.
In Little Em'ly and The Princess (April, 1870), were Misses
JuUa St. George, Fanny Addison, Rachel Sanger, and Sam
Emery, Commencing October 17, Toole played for twelve
nights. At the end of the month Sothem and Miss Amy
Roselle commenced an engagement. On November 28,
Mr. and Mrs. Wybert Rousby appeared in 'Twixt Axe and
Crown. Apropos of this visit, the following amusing story
is told by Mrs. Saker, who at that time was the leading lady
of the Alexandra stock company.
' I was very young at the time,' she says, ' conse-
quently when I was cast for Queen Mary in 'Twixt Axe and
Crown I had to be made up to look very much older, Mr.
Rousby thought a rather elderly lady would have been better
for the part, but Saker said that Miss O'Beime did not object
to make up old, but she did not know how. Mr. Rousby
offered to make me up on the night, which he did in the fol-
lowing manner. He darkened and Uned my face, topped it
with an iron grey front, a long veil, and a crown. I made a
very stately entrance and was getting on well, until I came
• ' The Personal Remlniscencea of Henry Irving,' by Bram Stoker, p. 179,
3o8 ANNALS OF THE LIVERPOOI. STAGE
to the following lines in my part : — "They think to take the
crouTi from off our royal head. Never ! " I gave my head a
dignified toss, away went the crown, carrying with it the veil
and front. There I stood revealed in my royal robes with a
bunch of my own fair hair screwed up on the top of my head,
a white forehead, and the rest of my face a deep grey -yellowish
colour. Of course the audience revelled in the situation.
However, I picked up the embellishment and put it on again
with my back to the audience. Wlien I turned round again
the applause and laughter were immense.'
On April lo, 1871, J. L. Toole and NelHe Farren per-
formed in The Princess of Trehizonde and The Pretty House-
breaker. The first local performance of The Two Roses took
place on May 29. In this appeared Henry Irving, George
Honey, H. J. Montague, W. H. Stephens, and Amy Fawsitt,
all of whom played their original characters. Miss Julia
Matthews, Howard Payne, J. D. Stoyle, and Aynsley Cook
commenced an engagement on August 14, in The Grand
Duchess. Mrs. John Wood, Lionel B rough, and the Royal
St. James's Theatre Company performed in Milky White and
the burlesque Poll and Partner Joe exactly a week later.
Ours was given during the first week in September by a com-
pany which included John S. Clarke, John Hare, Charles
Collette, and Miss Carlotta Addison. In October Dion Bouci-
cault and his wife appeared as ^Myles and Eily in The Colleen
Bawn. Shiel Barry was the Danny Mann. Commencing
October 16, Mr. and Mrs. Alfred Wigan gave six farewell
performances. The pantomime at Christmas was Little Jack
the Giant Killer, with Miss IMarie O'Beime as King Arthur.
The following incident occurred during the run of a panto-
mime in the early 'seventies : — ' I was sitting in our private
box on the right-hand side of the stage with some lady friends,'
says Mrs. Saker, who tells me the story, ' ]\Ir. Saker being in
his office, when suddenly a gentleman in one of the opposite
boxes stood up and waved his arms frantically at me, at the
same time shouting out " For God's sake, stand back." I
could not comprehend the situation, but on looking into the
pit I saw some people handing their children over into the
stalls. I called out * ' There is no fire ! A false alarm ! " At this
moment large pieces of plaster fell on me, and to make matters
worse a number of people left the theatre.
ANNAI^S OF THE IvIVERPOOIv STAGE 309
' Mr. Saker rushed up to the gallery to see what was the
matter, and found that part of the gallery front had given way.
He made all the people turn out from that part at once, giving
no explanation in order not to create a panic. They all moved
away with the exception of a sailor who refused to budge.
It was explained to him how ver>^ dangerous it was to remain.
"Oh," said he, "that's nothing. I've been shipwrecked;
besides, I've come many miles to see the pantomime, and I'm
going to see it."
' To quieten the fears of the audience, the late " Micky "
Roberts came on the stage and banged a big drum, singing
slowly the while. Afterwards the audience began to return,
and the pantomime was proceeded with. Before the next per-
formance Mr. Saker had the defect rectified.'
Towards the end of April, 1872, the beautiful Adelaide
Neilson was starring at the Alexandra. On Friday, May 3,
she took a benefit, when she appeared as RosaUnd, and as
Pauline in the fourth act of The Lady of Lyons.
At that time E. H. Brooke was the leading man of the
Alexandra stock company, and a great favourite. On the
occasion of Miss Neilson's ' bespeak ' Brooke was not feeling
very fit, having suffered from a bad bilious attack, which left
him with a severe headache and a tendency to giddiness.
All went well,' says Mrs. Saker, who tells the story,
' until the great scene in The Lady of Lyons where Pauhne
exclaims, " Claude take me, thou canst not give me
wealth, title, station, etc.," when Miss Neilson, with all the
power of her emotional enthusiasm, literally flung herself
into Brooke's arms. Poor Brooke was still feeling very weak,
and he gradually subsided (I cannot say fell), with Miss Neilson
on to the stage. Of course the audience roared with laughter.
They both got up and Brooke proceeded with the correct text,
" This is the heaviest blow of all," which seemed so appro-
priate at the moment that the merriment of the audience
prevented the progress of the play for several minutes.'
On June 10, 1872, Henry Irving was seen in The Bells
for the first time locally. Genevieve de Brabant was given during
the first week in July by Miss Emily Soldene and company.
July 15 saw Mr. Buckstone and his players. Ristori ap-
peared on August 18, 1873, and in the following week was
succeeded by Henry Irving in Charles I. A. W. Dubourg's
310 ANNALS OF THE LIVERPOOL STAGE
new play, Bitter Fruit, was produced for the first time on any
stage on October 6. Miss Kate Bateman (Mrs. Crowe), for
whom the piece was specially written, enacted the leading
part. The Carl Rosa Opera Company was here on October
13, and included Blanche Cole, William Castle, Mr. and Mrs.
Aynsley Cook, and Rose Hersee. The company performed
The Bohemian Girl, Maritana, The Marriage of Figaro,
Lucrezia Borgia, and Satanella. On December 8, and the
eleven following nights, James Bennett and Henry Talbot
gave full-flavoured specimens of their quality as tragedians.
James Bennett had formerly been a member of the
leading stock companies, and retained his popularity in most
towns. He was at the Cits^ Theatre, Glasgow, about 1846.
The manager of the theatre was John Henry Anderson (the
' Wizard of the North '), previously one of the lessees of the
Theatre Royal, Liverpool. In addition to Bennett, the
other principal members of the company were Bariy Sullivan,
(who was at that time about twenty-two years oi age), the
young and majestic Laura Addison, and Ada Dyas. When
Bennett accepted the Glasgow engagement he understood
he was to have all the principal roles, and Sullivan went
there under the same impression regarding himself. There-
fore, there were frequent rows. ' Bennett,' says John
Coleman,* ' was the older and more experienced actor, and,
though anything but a typical Claude, took the popular
fancy. Sullivan ran his rival hard in Claude, Hamlet, and
Romeo, but when it came to Macbeth, Othello, and parts of
that class, he was proved to be an admirable walking gentle-
man actor of tragedy, while Bennett was proclaimed to be
a tragedian. The result was (a cruel result too), that Sullivan
was dismissed and Bennett remained " monarch of all he
surveyed." This was a wrong which SulUvan never forgot,
never forgave, even when time had reversed this unjust
verdict. Only a few years ago, while dining tete-a-tete at the
Savage Club, this subject cropped up, and instantly lashed
him into a white heat.'
Bennett was specially engaged by Jarrett and Palmer
to play Richard III at Niblo's Garden, New York, where he
opened on April 10, 1871. On that occasion the present noted
• ' The Theatre,' June, 1891.
ANNALS OF THE IvI\^RPOOL STAGE 311
actress, Mrs. Fiske (then Minnie Maddern), played the Duke of
York. The tragedy was magnificently staged, all the scenery
being imported from London. Charles Calvert's version was
adopted in preference to that of Colley Cibber.
Colonel T. AHston Brown, the American stage historian,
says ' Bennett was in person belovv' the medium height, and in
general appearance reminded one of Fechter. He had the
xmgainly stage walk of Barry Sullivan (?) and Irving, the
shrugging of the shoulders of Fechter, as well as the painful
roUing of his eyes.' An odd description, truly ! There was
absolutely no resemblance between the stage walk of Sullivan
and of Irving. Sullivan's movements were the very poetry
of motion.
Among the parts which Bennett ' created ' were those
of Cromwell in E. L. Blanchard's Astoti Hall (1854), and Creon
in Watts Phillips's Theodora (1866). Bennett was a superb
lago, acting the soliloquies, not merely reciting them. His
reputation as an actor could, if necessary-, have rested on his
performance of Louis XI alone. It was a masterly piece
of acting, full of the most minute details, all showing
the care and thought he had given to the part. The long
drawn out death scene was the crowning piece of a most
finished performance. Bennett died on March 9, 1885.
A play from the pen of the well-known novelist. Miss ^I.
E. Braddon, entitled Genevieve ; or, the Missing Witness, was
produced, for the first time on any stage, on April 6, 1874.
The Lyceum Company (including Henr>' Irving, Isabella
Bateman, and John Clayton), was here in Philip on August
24. Irving played Count Philip de Miraflor. Henry V was
revived on November 9.
The first week in March, 1875, saw Charles Mathews
paying a welcome return visit. He played Dazzle in London
Assurance to the Lady Gay Spanker of Mrs. Edward Saker
and the Dolly Spanker of her husband.
Arthur Wing Pinero, the well-known dramatist, was at
that time a member of the stock company at the Alexandra.
On one occasion when he played Cool in London Assurance)to
Charles Mathews' wonderful Dazzle, he found himself on the
right side of the stage, when his ' cue ' had been given to
enter with a letter from the left hand. ' To work my way
312 ANNALS OF THE LIVERPOOL STAGE
round,' says Mr. Pinero,* ' would have occupied two or three
minutes ; there was no door on my side, so, without
hesitating, I squeezed myself through a small opening in the
scene, where two " flats " had been imperfectly joined. I
stood before Dazzle flushed and breathless. He gave me
a smile, and, turning to Charles Courtly, who was looking
for me in the opposite direction, observed, " Here's Cool,
he has just walked through a brick wall."
' On the last night of his Liverpool engagement he passed
me at the stage door on his way out. It was midwinter —
and he — poor old gentleman — was to play in Dimdee on the
following IMonday. I said " Good-bye, Mr. Mathews," and
held out my hand. His thoughts seemed far away, perhaps
in Dundee, where the snow lay rather thickly, but he absently
gave me two fingers. I remember I wished at the time that
they had been four, but, for all that, I look back on those
two little fingers with pleasure, for I never saw their owner
again.'
' Few people know,' says Henr>' Herman, f ' that the most
popular of EngUsh comedy authors, A. W. Pinero, came to
London simply through a fluke. Pinero was a stock actor
at the Alexandra Theatre, Liverpool, receiving from the late
Mr. Saker, a salary of some thirty to forty shillings a week,
when Wilkie Collins's Miss Gwilt was produced, in which
Pinero played a small character part. The author of The
Woman in White had been struck by the clever performance
of another actor ; but somehow or other, in reading from
the playbill, he mixed up the names, and asked Miss Caven-
dish's manager to engage IMr. Pinero for the London perfor-
mance, thinking him to be another man altogether. Pinero
came to London, with the result which is known to all ; and
his luck at the start — of which, perhaps, he himself even is
at this moment not aware — has followed him ever since.'
Charles Calvert's production of Sardanapahis took
place on September 27, with himself in the title-part.
Mr. Pinero represented Arbaces. Commencing November 8
a week of Italian operas was given, when Madame Christine
Nilsson made, as Margherita, her first appearance in
Liverpool. The Royal Italian Opera Company (imder the
• ' The Era Almanac,' 1884, p. 87. f ' Between the Whiffs,' p. 72.
ANNALS OF THE LIVERPOOL STAGE 313
direction of Sir Julius Benedict), was here on November 15.
The company included Madame Albani. Lohengrin was
presented on November 18, for the first time in Liverpool.
On December 9, Miss Gwilt was produced. Apropos of this
production the following story is told by Henry Herman :*
' When Wilkie Collins's Miss Gwilt was rehearsed for the
first time on any stage, at the Alexandra Theatre, Liverpool,
it contained a part omitted at its production — namely that of
the old gardener, Abraham Sage. The role was allotted to a
yomig man who was then the second comedian of the theatre,
and who has since made a name for himself both in England
and the Colonies. The aspirant for stage honours was dissatis-
fied with his part — a very short one — and at one of the final
rehearsals he interlarded his principal speech with a copious
admixture of the word " sir." WTien he had got through,
Wilkie Collins looked at him over his spectacles and said sternly:
" Young man, I have written the word ' sir ' four times. You
have used it thirteen times. Please understand that I want
my words spoken as I wrote them." " I am very sorry, Mr.
Collins," rephed the young comedian ; " but, you see, the
part's such a poor one, and I wanted to give it character.'
" Thank you," Wilkie Collins replied quietly ; "I will
look into this."
When the rehearsal of the act was finished, Wilkie Collins
turned to Miss Cavendish's stage manager, who had charge
of the production, and asked him for a pencil.
" I think, Mr. ," he said, " if we put our heads
together, we may do without Abraham Sage," and in the
result every line of the gardener's part was struck out of the
piece.
' When the Alexandra Theatre Company, including Ed-
mxmd and Robert Lyons, A. W. Pinero, and others, were
engaged for the London production, that young comedian
regretted his inconsiderate speech, and three years elapsed
before he found a London engagement. He has made up for
it since.'
On March 20, 1876, Edward Saker and Charles Calvert
produced, and played in, Louis XL Mr. and Mrs. Charles
Sullivan were here the following week in The Colleen Bawn.
• • Between the Whiffs,' p. io8.
314 ANNALS OF THE LI\^RPOOI. STAGE
The Italian Opera Company revisited the theatre on April
10. The stage manager for the company was Mr. (after-
wards Sir) Augustus Harris, who, in later years, was familiarly
known to many as ' Druriolanus.' The first production in
Liverpool of The Shaughraun took place on April 17. Hubert
O'Grady (who Hes buried in Yew Tree Cemetery, Liverpool),
was the Conn. Mrs. O'Grady, Miss Rose Massey, and Thomas
Nemey, also sustained characters. On June 26, ;Mr. and
Mrs. E. H. Brooke appeared in Gustave ; or, Life for Life.
In the supporting company was R. C. Carton, the now
well-known dramatist. On September 4, Mr. Saker produced
A Winter's Tale. Miss Violet Cameron, Mrs. Saker, Mr.
Saker, and J. T. Dewhurst played Perdita, Hermione,
Autolycus, and Leontes. The production brought fame and
pecuniary success to the manager. After being performed
for a month in Liverpool, A Winter's Tale was taken on
tour. On October 2, Henry Irving played Hamlet to Miss
Isabel Bateman's Ophelia. Other plays given subsequently
were Charles I and The Bells.
In December, Mr. H. J. Loveday, the talented musical
director of the theatre, left to join Henry Irving. He was
accorded a complimentary benefit on December 18. Mr.
Loveday was succeeded by a capable musician in Mr. John
Ross. Besides discharging the arduous duties connected
with this office for a number of years, Ross also found time
to act as conductor of the choir of St. Francis Xavier's Church,
Liverpool. He was one of the founders of the Liverpool
School of Music, and was one of the prominent members of
the teaching staff. Ross died on November 22, 1897.
On December 18, 1876, Charles Mathews commenced a
week's engagement with My Awful Dad. On Saturday
evening, December 23, he played in this and in Not At All
Jealous. This was his last appearance in Liverpool. The
following year he started upon a tour of the provinces,
which was destined to be his last. On Jime 8, 1878, he
played in My Awful Dad at Stalybridge. He never acted
again. At Manchester sixteen days later he closed his e5'es
in death, and was buried at Kensal Green.
Phelps visited the theatre on March 19, 1877. The
second week in May saw Edward Terry and company in Weak
Woman. The following week Henry V was revived. On
ANNALS OF THE LIVERPOOL STAGE 315
September 10, Henry Irving appeared as Gloster injRichard
III for the first time in Liverpool. Calvert revived Henry
VIII on November 12. That year's pantomime was The
Children in the Wood.
Edward Saker's revival of Much Ado About Nothing took
place on April 22, 1878. Mr. and Mrs. Saker played Benedick
and Beatrice. The part of Hero was sustained by IMiss
Monta Gainsborough ' with imcommon power and unim-
peachable grace.'* When Maritana was presented by the
Carl Rosa Opera Company on May 20, Joseph Maas made,
as Don Caesar de Bazan, his first appearance in Liverpool.
Proof was presented for the first time locally by Wilson
Barrett's Company on August 19. Henry Irving appeared
on September 16, as Louis XI, and four days later played
Jingle for the first time in Liverpool. On October 21, Charles
Calvert enacted Doctor Primrose ; Madame Cicely Nott, Mrs.
Primrose ; and Miss Florence Terry the titular part, in Olivia.
The Christmas piece was Robinson Crusoe.
On May 12, 1879, ^^^ Cloches de Corneville was perfonned
by James Fernandez, George Barrett, Frank Darrell, James
Danvers, and Miss Cora Stuart. After having been recon-
structed from the designs of Mr. C. J. Phipps, F.S.A., the
theatre was re-opened with J. L. Toole's company on October
20. Charles Wyndham commenced a twelve nights' engage-
ment on November 24, with Brighton. That year's Christ-
mas pantomime was The Forty Thieves. Miss Katie Se>Tnour
was in the cast.
Edward Saker's revival of A Midsummer Night's Dream
— or as he quaintly styled it, A Mydsomer Nyghte's Dreame,
was brought out on IMarch 29, 1880. The production was
much enhanced by the substitution of children for adults in
the fairy scenes. The youngsters included Katie Barry and
Addie and Rosie Blanche. Saker had a congenial role as
Bottom, and Joseph Burgess portrayed Snout. On June 28
and 29, the great French actress Sarah Bernhardt made her
first appearance in Liverpool. She acted with enthralling
magnetism in Adrienne Lecouvreur and Frou Frou. Madame
Modjeska was here for six nights commencing August 30.
She was seen in Heartsease, Adrienne Lecouvreur and Romeo
• '.I,iverpool Daily Post,' April 23, 1878.
3i6 ANNALS OF THE LIVERPOOL STAGE
and Jidiet. Modjeska was succeeded by the celebrated
Hanlon Lees in Le Voyage en Suisse. Ellen Terry and
Charles Kelly commenced an engagement on October 4,
appearing during their sojourn in The Merchant of Venice,
New Men and Old Acres, and Much Ado About Nothing.
D'Oyley Carte's Children's Pinafore Company came on
November 8. W. H. Chippendale took his farewell of the
local stage on December 18. The pantomime of Robin
Hood, produced December 22, was by the author of * The
Piebald Possum of the Panting Prairie, and other novel and
instructive works.' This was how J. F. McArdle then des-
cribed himself. In the company were Harr>' NichoUs, Arthur
Ricketts, Joseph Burgess, and R. J. Roberts. It was about
this time that Mr. G. W. Harris first became associated with
tlie theatre.
On June 13, 1881, Saker brought out his fourth and
last Shakespearian revival. This was The Comedy of Errors,
in which Lionel Brough played Dromio of Ephesus. Saker
was to have performed the other Dromio, but he was forbid-
den to act by his medical adviser, so T. F*. Doyle played the
part instead. On August 15, that melodramatic success The
World was seen here for the first time locally. Henry Irving
played Eugene Aram on September 17. He and Miss Ellen
Terry were also seen at this period in Hamlet, The Merchant
of Venice, Charles I, and The Belle's Stratagem. Commencing
October 10, Miss Alleyn displayed her skill in Woman's Love,
The Lady of Lyons, As You Like It, and Romeo and Juliet.
Modjeska followed. Mrs. Scott-Siddons (a grand-daughter of
the famous actress Mrs. Siddons), came on December 12.
vShe appeared in ^s You Like It, King Rene's Daughter, and
The Honeymoon. Henry Kemble (grandson of the eminent
tragedian, Charles Kemble), was in support. Dick Whit-
iington and His Cat formed the Christmas attraction.
On February 20, 1882, the Italian Opera Company came
for six nights, but only performed on Monday, Tuesday and
Wednesday. On the Thursday, bills were issued by Saker
which set forth that ' the manager of the Italian Opera Com-
pany having failed to complete his engagement by the non-
appearance of Mdlle. Marie Marmon, Madame Demeric-
Lablache, Signor Frapolli, and other principal artists, Mr.
Saker is reluctantly compelled to bring the opera season to
ANNALS OF THE LIVERPOOL STAGE 317
an abrupt termination,' The Carl Rosa Opera Company per-
formed Balfe's Moro for the first time in Liverpool, on April
II, 1882. T. Edgar Pemberton's comedy opera. The Chiltern
Hundreds was produced on April 17. The Drury Lane success
Youth was performed for the first time in Liverpool on May 8.
Mrs. Langtry visited the theatre on Jime 5. La Dame Blanche
was given for the first time locally on August 31, by the Carl
Rosa Opera Company. The first Liverpool performance of
Boccaccio took place on October 30. Emily Soldene played
the titular part. Madame Ristori portrayed Elizabeth and
Lady Macbeth in English during the week commencing
November 20. The following week Edwin Booth appeared
in Richelieu, Hamlet, Othello, King Lear, and Richard IIL
Osmond Tearle played Hamlet, Othello, Claude Melnotte, and
Richard III, during the week commencing December 11.
Blue Beard was given at Christmas. J. H. Milbum played
the title part, and Nellie Bouverie principal ' boy,' Comic
parts were sustained by Harry Starr, and by the author,
T. F. Doyle. This was Edward Saker's last pantomime.
Lady Monckton and Sir Charles Young came on February
26, 1883. They were seen in Yellow Roses, The Wife's Secret,
and Charms. On March 12, Lytton Sothem commenced a
week's engagement and appeared in the characters formerly
sustained by his father, viz.. Lord Dundreary, and David
Garrick. Easter Monday saw Kyrle Bellew playing Romeo
to Fanny Reid's JuHet.
On March 29, 1883, Edward Saker died at his residence,
118 Bedford Street, Liverpool, from a severe attack of gout.
He was bom in London, in 1831, and was the son of Mr. W.
Saker, an actor of some note in his day. Saker joined the
theatrical profession at an early age by entering into the
service of his brother-in-law, Mr. Robert H. Wyndham, of
Edinburgh. He made his mark in Liverpool both as actor
and manager. In conjunction with Lionel Brough, Edward
Saker, before he came to manage the Alexandra, used to give
an entertainment, entitled * The So-Amuse Twins,' which
was an exceedingly clever production. Saker's Shakespearian
clowns were wonderful examples of able comedy During his
fifteen years' management of the Alexandra his efforts for
the elevation and advancement of the drama in Liverpool
were unceasing. His revivals were all pecuniary triumphs.
3i8 ANNALS OF THE IvIVERPOOIv STAGE
and his pantomimes brought additional grist to the mill.
The pantomime weekly salary list frequently ran into ;^6oo,
but the annuals always realised from ;^9,ooo to ;fi2,ooo profit,
never less. Saker was a member of the Masonic body, and
took an active part in the formation of the Liverpool
Dramatic Lodge. He was interred in St. James's Cemetery,
After the death of her husband Mrs. Saker took up the
reins of management. With five yoimg children to support
and educate, the position was almost forced upon her. Mr.
Saker had, moreover, expressed a wish that his sons should
eventually succeed to the management of the theatre, and
it was Mrs. Saker's earnest desire to keep things going until
they were old enough to assmne control. However, I'homme
propose, et Dieu dispose.
On May 7, 1883, the Drury Lane success, Pluck, was per-
formed for the first time in Liverpool. In June a series of
French plays were given by Madame Judic and company
from the Theatre des Varieties, and by the G>nnnase company
of forty artists. Barry Sullivan commenced a fortnight's
engagement on August 13. During the first week the receipts
amoimted to upwards of ;^i,300. It was about this time
that Barry was asked by a number of our townsmen to
represent them in the Nationalist interest in Parliament.
He, however, declined the honour with thanks. The end of
August saw Mrs. Langtry paying a return visit. Esmeralda
was produced by the Carl Rosa Opera Company for the first time
locally on September 3. Then followed visits from Henry
Irving and Miss Ellen Terry (September 24), Miss Kate
Vaughan (October 8), and Miss Bateman. The Adamless
Eden Company of ladies (forty in all), performed during the
week commencing October 22. In the company were Ada
Blanche and Belle Bilton. Emily Soldene took her farewell
of the local stage on November 24. Jack, the Giant Killer,
Mrs. Saker's first pantomime was produced at Christmas with
Marie Loftus as Jack.
On February 25, 1884, T. C. King and Kate Read perfor-
med in Othello, Ingomar, Richelieu, and Black-Eyed Susan.
Salvini, the celebrated tragedian, took his farewell of the
Liverpool stage on May 3, when he gave his marvellous im-
personation of Othello. During his short «tay of four nights
he was also seen as Hamlet and King Lear. Beautiful Mary
ANNAI^ OF THE LIVERPOOIv STAGE 319
Anderson came on May ig. vShe played in Ingomay, Pyg-
malion and Galatea, Comedy and Tragedy, and The Lady of
Lyons. On June 27, Sarah Bernhardt gave one performance
of I,ady Macbeth. The Alexandra re-opened on August 21
with The Gascon. During the recess the theatre had been
redecorated. A new act-drop from the brush of John Brunton,
who afterwards went to Australia, was shown for the first
time. On November 20, Mrs. Saker played Pauline in The
Lady of Lyons to Lewis Waller's Claude Melnotte. This was
Mr. Waller's first leading part. Aladdin was the Yuletide
attraction with Jenny Hill in the title part.
Early in 1885, Priest or Painter was introduced to local
playgoers by F. R. Benson's Company. Praiseworthy per-
formances were given by F. R. Benson, William Mollison, and
Mr. and Mrs. F. H. Macklin. It is worthy of note that Mr.
Benson's grandfather, Robert Benson, was a member of the
Liverpool cotton firm, Cropper, Benson and Company.*
Miss Fortescue made her first appearance in Liverpool on May
II in Pygmalion and Galatea. Miss Angela Fenton (Mrs.
Colonel Greenall), and her company performed in The
Merchant of Venice, during the week commencing August 10.
Miss Fenton played Portia to James Fernandez's vShylock.
The end of August saw Mrs. Bernard Beere here in Masks
and Faces. A benefit was given to Frank Emery on October
7. Cinderella was that year's pantomime with Miss Letty
Lind in the title part.
La Fille de Madame Angot and Les Cloches de Corneville
played by Warwick Gray's Children's Comic Opera Company
came on April 19, 1886. A special production of Rob Roy
was given on June 7, when leading roles were sustained by
Mrs. Saker and Walter Bentley. Barry Sullivan performed
in November. Sindbad the Sailor, produced December 23,
was Mrs. Saker's fourth pantomime. The authors were T.
Edgar Pemberton and J. James Hewson. Vesta TiUey
played Sindbad.
On January i, 1887, Miss EUahne Terriss, daughter of
the late William Terriss, made her first appearance on the
• Mr. Benson tells me that his grandfather rode in the first railway train between
Wverpool and Manchester, when the Right Hon. William Huskisson, M.P. for Liverpool,
was Wiled (September 15, 1830). Curiously enough there is an engine at the present
time on the I<ondon & North- Western Railway called the ' Robert Benson.'
320 ANNAI.S OF THE I^IVERPOOIv STAGE
stage, and danced a hornpipe, with much success, in the first
scene of Sindbad. Dion Boucicault's comedy of The Jilt
was performed for the first time in the provinces on February
28, 1887. Edgar Bruce's Company were here in Alice in
Wonderland on April 11. Mary Anderson played Juliet on
May 9 for the first time in Liverpool. Five days later she
appeared in the titular part in Dean Milman's tragedy
Bianca, her first performance of the character in England.
Barry Sullivan came on ]\Iay 30, and brought his engage-
ment to a close on Saturday, June 4, with an impersonation
of Richard III. This was his last appearance on the stage.
I was present on that occasion, and noticed that his acting
was not as good as of yore. The sword combat in the last
scene with Richmond (played by his son, Amory Sullivan),
was not gone through in his customary effective style. It
was fitting that Sullivan should make his last appearance on
the stage in Liverpool, where his brilliant histrionic powers
were first recognised, and so generously fostered. He died
at Hove, Brighton, on May 3, 1891, and was interred in
Glasnevin Cemetery, Dubhn, where a public statue marks his
last resting place.
Sarah Bernhardt played in Adrienne Lecouvreur and Theo-
dora on July II and 12, 188^. The theatre re-opened on
September 12 with Mrs. Bernard Beere in ^s In A Looking-
Glass. Prices of admission to the stalls, dress-circle, and pit-
stalls were reduced by sixpence. Irving came in October,
and the Italian Opera Company in November. The Forty
Thieves was given at Christmas, and was from the joint pens
of T. Edgar Pemberton and J. James Hewson. Vesta Tilley
was the principal ' boy.' This was Mrs. Saker's last pantomime.
On February 6, 1888, Vesta Tilley took a benefit,
on which occasion the late Blanche Stoll (daughter of
Mrs. J. G. Stoll), made her first appearance on the stage, and
recited G. R. Sims's pathetic poem, entitled ' A Christ-
mas Story.' Miss Tilley also sang a new song, written by Mr.
Oswald Stoll, entitled ' How the Money Goes.' On March 12,
The Lady of the Lake was performed by a stock company. J.
B. Howard was the Roderick Dhu, and F. W. W5Tidham the
Fitz James,
Mrs. Saker retired from the management of the Alexandra
on April 14, 1888, upon which occasion she took a farewell
ANNAI.S OF THE LIVERPOOL STAGE 321
benefit. Two performances were given, one in the afternoon
and the other in the evening. Pygmalion and Galatea was
one of the plaj's selected to be given at the second performance,
and ]\Ir. W. S. Gilbert was announced to play the part
of Pygmahon. But at the last moment his courage failed
him, much to the disappointment of his various admirers,
who were looking forward to seeing him in the dual role of
actor and author. Galatea was charmingly played by
IVIiss Julia Neilson, who on this occasion made her first appear-
ance on the local stage. During the course of the evening
Mr. PhiHp Rathbone, chairman of the Alexandra Theatre
and Opera House Company, Limited, presented Mrs. Saker
with a cheque on behalf of the subscribers.
In bidding farewell, Mrs. Saker brought to a close a
notable regime with which the name of Saker had
been so long and honourably associated. Mrs. Saker was
ahvays very popular in Liverpool. Even the galler>' boys
who had saved up their coppers to go to the theatre, had
been known to come to the stage door and give her their
good wishes in a rich Irish brogue, which was all the more
acceptable to her, as she, too, came from Dublin.
A noteworthy social feature of Mr. and Mrs. Saker's
management was the ' At Homes ' given in the foyer of the
theatre. Prom time to time their friends were asked to
meet Henry Irving, Ellen Terry, Sarah Bernhardt, Mrs.
Langtry, and other leading artists. Invitations for these
distinguished gatherings were alwaj's keenly sought after.
Commencing August 6, the theatre was under the manage-
ment of Mr. Richard Mansell, with Mr. Richard Flanagan as
business manager. The opening attraction was The Demon,
performed by the Russian National Opera Company, which
also gave later The Patriot. On September 3, Miss Patti
Rosa appeared in Boh. Miss Mary Anderson played Perdita
in A Winter's Tale for the first time in Liverpool on October
9. On October 22, Robert Buchanan and Hermann Vezin's
three-act comedy. Bachelors, was presented. The role of
Mrs. Lynne Loseby (a young widow), was played by a lady
billed as Miss Stella Campbell. This was Mrs. Patrick
Campbell's first appearance on the professional stage. Dick
Whittingion was the Christmas annual. Fanny Wentworth
was in the cast.
322 ANNALS OF THE LIVERPOOI, STAGE
The theatre remained closed from Ma5^ 1889 imtil
December, 1894, when it was opened under the management
of Mr. Ellis Brammall, jmir., of the local Shakespeare
Theatre, with The Fair One with the Golden Locks.
On March 11, 1895, the house was re-opened as the
Alexandra by the Empire Theatre (Liverpool), Limited.
John HoUingshead was the managing-director of tlie com-
pany, but even with ' Practical John ' at the head of affairs,
that coy goddess. Success, proved difficult to woo. On
August 5, the theatre came under the direction of the Alex-
andra Vaudeville Company, Limited. Our townsman, Mr.
Sidney Bolingbroke Cooper, was the manager. In January,
1896, the property, which included the theatre and three shops,
"Was put up for auction at the Law Association Rooms, Cook
Street, and sold to Messrs. Moss and Thornton for £30,000.
Afterwards the theatre was reconstructed and beautified
in a la\nsh manner, and the electric light installed through-
out. The new proprietors, the Liverpool, Leeds, and
Hull Empires, Limited, at the head of which was Mr. (now
Sir) H. E. Moss, announced that ' the class of entertainment
will be in strict imison with the building ; it will be as refined
as it is excellent, a conspicuous feature being the absence of
all that can be construed into \ailgarity, the fixed determination
of the management being to promote a class of entertainment
which has made such rapid strides in public favour during
the last few years. The company, therefore, trust that in
their new endeavour to elevate the tone of variety entertain-
ments they will command the good wishes of all classes of
society.' How they, the present company. Moss' Empires,
Limited, with which the Liverpool, Leeds and Hull Empires,
I/imited, was incorporated, have scrupulously kept their
word with the public has long been a household word. In
their hands the Empire has been a big success.
The new Empire opened on December 19, 1896, with the
pantomime of Cinderella. Mr. James Aynsley Cook was the
acting manager, Mr. E. Bosanquet, the musical director, and
Mr. Kingston Trollope the stage manager. The first variety
performance in the new theatre was given on February 15,
1897. In the following Christmas The House that Jack Built
was produced. Mr. E. Bosanquet, the musical director, left
the theatre in May, 1899. He was succeeded by Mr. Walter
ANNAI^ OP THE LIVERPOOL STAGE 323
Forrest Hague, a nephew of the late vSam Hague, who
severed his connection with the theatre in October, 1908. • To
the regret of many Mr. J. A. Cook retired from the acting
management of the theatre on November 29, 1899. He
was succeeded by his brother, Mr. Thomas Aynsley Cook.
Jolly Jack was the Christmas attraction of 1899. Leading
parts were admirably sustained by Miss Bessie Cohen (Jack)
and Joseph Alexandre and George Hughes. The spectacle
A Hielan' Laddie ; or, His Twa Loves, His Lassie and His
Queen was performed on December 24, 1900, Cinderella
was the Christmas piece in 190 1, and Aladdin was given the
following year. The next pantomime was Puss in Boots,
which was produced on December 24, 1906. On February
10, 1908, Laurence Irving and Mabel Hackney made their
first appearance on the Empire stage, in a sketch called Peg
Woffington. Mr. Horace Cole is now the courteous acting
manager of the theatre, and Mr. George M. Saker, son of the
late Edward Saker, the talented musical director.
THE SEFTON THEATRE.
After the closing of the Royal Park Theatre in Parliament
Street, the south end of Liverpool remained without a play-
house until the Sefton, a rectangular hall in Park Road, was
opened by Mr. C. H. Duval, for purely dramatic purposes,
on September 21, 1875. Previously the hall had been used
for various kinds of entertainments.
Mr. Duval's reputation had preceded him to ' The Park,'
and on his opening night he was patronised by an audience
which completely filled the house. A new stage had been
erected, and everything fitting in the way of adequate
scenery, dresses, and a good stock company provided.
The performance opened somewhat unambitiously with the
comedy A Bird in the Hand is Worth Two in the Bush. The
company comprised Misses Rose Mortimer, Grace Montford,
and A. Powell ; and Barry Stuart, Ben Schofield, and E.
Fitzdavis. The theatre accommodated about 1,100 persons
— 800 in the body and 300 in the gallery.
On the occasion of Mr. G. W. Edwards's benefit, which
took place on March 29, 1879, Messrs. H. T. Brickwell and
James Carr played the respective parts of Valentine and
324 ANNALS OF THE LIVERPOOL STAGE
Orson in the romantic drama of that name. The former
gentleman afterwards appeared as harlequin in a laughable
pantomime, entitled Fun, Frolic, and Mischief ; or, the Clown's
Holiday. This was two years before Mr. Brickwell joined
Edward Terry as acting manager.
Although not a native of Liverpool, having been bom
at Stroud in 1858, Mr. Brickwell was educated at the Liverpool
College, and in a small part, made his first appearance on the
stage at the local Amphi'.
In the 'eighties, the Sessions House Hotel, Kirkdale, was
occupied by Mr. Brickwell p^re. One Sunday when his son
and his daughter-in-law arrived at the hotel, they were sur-
prised to find, massed in front of the house and stretching
along the footwalks and roadway leading thereto, a dense
body of people. On seeing Mr. H. T. Brickwell, the crowd
shouted ' That's im, that's 'im,' and then a very respectable
cheer was given. The younger Brickwell blushed becomingly,
looked dreadfully conscious, and bowed as gracefully as
possible. Apparently he had been taken for some illustrious
personage. WTio could it be ? The mystery was solved
after he and his spouse had fought their way through the
demonstrative crowd (each one striving to shake him by the
hand), and were safely housed in the hotel. It then appeared
that Mr. Brickwell had been mistaken for Bartholomew
Binns, the successor of the ' long drop ' man, who was
expected to arrive that day to carry out on the morrow the
dread sentence of the law on an unfortunate criminal at the
adjacent Kirkdale gaol.
After directing the theatre for a few years, Mr. Duval was
succeeded as lessee by Mr. R. Mulvey, who re-christened the
house the Royal Sefton Theatre. Mr. Mulvey's stock company
used to give drama interspersed with variety turns. London
by Night, Liberty, The Press Gang, Life's Devotion, Nobody's
Child, Blow for Blow, and Maria Martin were some of the
plays submitted.
Mark Melford, the well-knowm actor-dramatist, John
Sheridan, Mr. and Mrs. W. H. Morton, Frank Fuller, and
WilUam Tallon, were all formerly associated as players with
this house. The last-mentioned gentleman is still a resident
of this city. Mr. Henry Loydall managed the theatre for a
time, and after his regime Mr. Mulvey again took up the reins
ANNAI.S OF THE LIVERPOOL STAGE 325
of management. In 1895 Mr. James Kieman opened the
Sefton as a music hall. Afterwards it was converted into a
billiard hall which it still remains.
THE ROYAL VICTORIA THEATRE.
This theatre formed part of the attractions of the Liver-
pool Exhibition of 1887. Mrs. Edward Saker was the lessee ;
Mr. G. W. Harris, manager ; Mr. F. W. Walden, acting
manager ; and Mr. Joseph Burgess, stage manager. Mrs.
Saker did everything possible to maintain a varied series of
attractions, and she made the pretty bijou theatre a place of
agreeable resort. On Whit Monday seven performances of
Kenilworth and a variety entertainment were given between
the hours of one and ten p.m., during which time over 5,000
persons entered the theatre. Despite, however, every effort
to achieve success a loss of some £500 was recorded in a brief
period of six weeks.
THE SHAKESPEARE THEATRE.
This theatre, which is situated in Eraser Street, off London
Road, was erected by Mr. EUis Brammall, junr., and opened
on Monday, August 27, 1888. It was the first playhouse in
the provinces to be called after the immortal bard, the one
in Shakespeare's own town excepted. Appropriately enough
the opening performance (under the patronage of His Worship
the Mayor of Liverpool, Mr. T. W. Oakshott), was As You Like
It, given by the inaugural stock company, with the
following cast : —
Banished Duke, Mr. Henry Moxon.
Amiens, Mr. Charles Stanley.
Jaques, Mr. T. W. Ford.
Duke Frederick, Mr. Charles Wybert.
Le Beau, Mr. Herbert Swindon.
Charles (the Wrestler), Mr. Arthur Lennard.
OUver, Mr. Newton Ramsden.
Celia, Miss Susie Steele.
326 ANNALS OF THE LI\^RPOOI. STAGE
Adam, Mr. G. Lester Herbert.
Orlando, Mr. T. C. Bindloss.
Audrey, Miss Kate Hodson.
Jaques de Bois, Mr. Eustace.
Touchstone, Mr. Edward Chessman.
Corin, Mr. Henry Sainsbury.
Sylvius, Mr. Thomas Power.
William, Mr. F. Granville.
Phebe, Miss Adeline Evers.
and
Rosalind, Miss Wallis
(Mrs. Lancaster).
The Songs and Choruses by the specially organised Shakespeare
Glee Union.
This palatial building will seat comfortably some 3,000
persons. The magnificent foyer through which approach is
made to the dress-circle is luxuriously furnished with cosy
lounges, and adorned with richly-bevelled mirrors, and chaste
carvings in Dantzic oak of scenes from Shakespeare's plays,
the whole surmounted by a tastefully paimelled ceiling. The
rest of the theatre is quite in keeping.
The first manager was Mr. Charles Walters, who was
afterwards succeeded by the late G. W. Harris, formerly
associated with Mr. and Mrs. Edward Saker at the Alexandra
Theatre. The acting manager and treasurer was Mr. John
Gaffney, and the secretary, Mr. B. Henderson Howat.
Of these gentlemen, only our townsman, Mr. Gaffney,
remains connected with the theatre. He is now the esteemed
resident manager. The first musical director was the late
Fred WMght (formerly of the local Prince of Whales), and the
first scenic artists were Messrs. Fred Dowling and J. A.
O'Rorke. The late R. V. Shone, whose sad death by his
own hand is a matter of painful memory, was the first assistant
stage manager.
Edmund Tearle had the honour of being the first touring
manager to visit the Shakespeare, and since then he has been
several times on the same boards.
Notable amongst those who have appeared here since
the theatre was opened are John Hare, George Alexander,
Arthur Roberts, Dan Leno, Fred Terry, David James, H.
Beerbohm Tree, Edward Compton, Forbes Robertson, Lewis
THE SHAKESPEARE THEATRE.
ANKALS OF THE LIVERPOOL STAGE 327
Waller, Wilson Barrett, Hermann Vezin, Leonard Boyne,
Shiel Barry, Arthur Bourchier, W. L. Abingdon, Janette
Steer, Minnie Palmer, Florence St. John, Kate Rorke, Olga
Nethersole, Sarah Bernhardt, Mrs. Langtry, and Mrs. Lewis
Waller. The Carl Rosa and D'Oyly Carte Opera Companies
have been frequent visitors.
At this theatre on Monday, December 3, 1888, the ill-
fated Arthur Dacre and his wife, Amy Roselle, commenced a
week's engagement, which proved to be their last visit to
Liverpool. For four evenings of the week they played in
Charles Reade's striking drama of The Double Marriage.
Soon afterwards, it will be remembered, they proceeded to
Australia on a tour, and there made their final exit from
Life's stage by suicide.
Shakespeare pantomimes are always of excellent quaUty.
The first annual was The Yellow Dwarf, an old theme now
seldom discussed. It was written by T. F. Doyle, and presented
on Saturday, December 22, 1888. Principal parts were played
by Matt Robson, G. T. Minshull, Walter Groves, Jolin S.
Chamberlain, and Miss Amy Gnmdy.
A special feature for some years at the Shakespeare was
the series of revivals by F. R. Benson and his vShakespearian
Company. Each year a committee of local gentlemen of
standing and repute was formed to give, at it were, a tone to
the revivals, which were eminently successful, the classic
season generally lasting for a month. Although :\Ir. Benson's
visits do not now extend as long as formerly, they are still
attended with good results. Mr. Benson first came to the
Shakespeare with his company on April 29, 1889, the opening
play being A Midsummer Night' s Dream.
Among the first productions seen here there have been
several notable successes. On May 6, 1889, Wilham Duck's
company gave, for the first time on any stage, A Wife's
Devotion, written by J. H. Damley and J. M. Fenn. In
collaboration with the late H. A. Bruce, Mr. Damley after-
wards wrote Shadows on the Blind, and On Guy Fawkes Day.
Mr. Bruce also wrote a novel, ' From the Ranks to the
Peerage,' which met with success; and at the time of ! his
lamented death was engaged on another, ' Amy Poigndestre.'
Poor old ' Daddy ! ' May the earth lie lightly on him !
328 ANNAI^ OF THE LIVERPOOL STAGE
The second pantomime was Old Mother Hubbard, with T.
F. Doyle again as author. It was produced on Saturday,
December 21, 1889. Humpty Dumpty was the title of the
next Christmas extravaganza. It was written by Wilton
Jones, and principally interpreted by J. T. McMillan, Charles
Seel, J. H. Milbum, and Nelly Leamar (the Hon. Mrs. Dun-
combe), Its first performance took place on Saturday,
December 20.
Here on Easter Monday, March 30, 1891, for the first time
in ^England, James M. Hardie and Miss Sarah B. Von Leer
presented that phenomenal success On the Frontier, a
stirring melodrama founded on Fenimore Cooper's novels
' The Last of the Mohicans,' and ' The Wept of the Wishton
Wish.'
The fourth pantomime was Aladdin, the ' book ' again
by T. F. Doyle. It was produced on December 24, 1891.
The anniversary of that night in the following year saw the
first performance of Blue Beard by W. H. Risque, with Henry
Ward roper, Martin Adeson, Victor Widdicombe, the Lorenzis,
Florrie Robina, and the Sisters Phillips in the cast.
During the week commencing Monday, September ii,
1893, Diplomacy was played here by the following remarkable
combination : —
Count Orloff, Mr. Bancroft.
Baron Stein, Mr. Arthur Cecil.
Julian Beauclerc, Mr. J. Forbes Robertson.
Algie Fairfax, Mr. Gilbert Hare.
Markham Mr. Gilbert Trent.
Antoine, Mr. E. Mayeur.
Shepherd, Mr. H. Vaughan.
Henry Beauclerc, Mr. John Hare.
Dora, Miss Kate Rorke.
Countess Zicka Miss Elizabeth Robins.
Marquise de Rio-Zares, Lady Monckton.
Mion, Miss Helen Luck.
Lady Henry Fairfax, Mrs. Bancroft.
That year's pantomime was Cinderella (produced Decem-
ber 23), in which Martin Adeson, Huntley Wright, Harry
Freeman, and iVIarie Kendal gave performances. The
following year (1894), saw Bo-Peep by J. H. Wolfe. In it
ANNALS OF THE IvI\^RPOOIv STAGE 329
were Marie Lloyd and Belle Harcourt, Walter Sealby,
Fred Sinclair, and James Chippendale. On March 25, 1895,
the 1892-3 annual of Blue Beard was revived. It was pro-
duced under the general direction of Fred Coles. The 1895-6
annual was Dick Whittington, with Maggie Duggan in the title
part, her first appearance in pantomime at the Shakespeare.
Alfred Hemming, C. Guilfoyle Seymour, the Lorenzis, and
Freddie Farren were chief among the fun-makers. The
next annual was The Babes in the Wood, by J. H. Wolfe.
Julie Mackey, Jennie Rogers, Sam Wilkinson, H. Gomer May,
and J. P. Dane were the principal exponents. The 1897-8
pantomime was J. H. Wolfe's version of The Yellow Dwarf,
in which G. T. Minshull, Nat Clifford, Marie Dainton and
Gwennie Hasto appeared.
Mr. Ellis Brammall, junr., directed the destinies of the
theatre until the property was leased in 1898 to Hardie, Von
Leer, and Gordyn, who opened the house on April 11, 1898,
with A Night Out. In the 1898-9 extravaganza Dick Whitting-
ton, by Percy Milton, were Arthur Milton, Herbert Lisle,
Billee Barlow, and Nita Clavering.
In 1899 the theatre was turned into a limited company,
with Mr. H. A. Bruce as managing-director. The company
obtained a twenty-one years' lease of the premises at a yearly
rental of £2,000, with the option to terminate the tenancy
in 1909, together with a further option of purchasing the
lessor's reversion in the property for a stipulated sum. The
house opened under the new auspices on August 14, Ma Mie
Rosette being the initial attraction.
Among the noteworthy productions of this period was
that much discussed play The Christian, dramatised by Hall
Caine from his own novel, and brought out here for the first
time in England on Monday, October 9, 1899. Jay Hickory
Wood's version of Cinderella, produced on December 23, was
the next pantomime. The performers included Amy
Augarde, Adrienne Augarde, Lillie Belmore, Henry Wright,
Fred Williams, Austin Lenton, Harry Lupino, and the
Bostons.
On Monday, May 21, 1900, The King's Password by
Mrs. Vere Campbell first saw the light, and on September 3,
of the same year, George R. Sims's play. The Scarlet Sin, had
330 ANNALS OF THE LI\^RPOOIv STAGE
its initial production. Boxing Night, 1900, saw the production
of Jack and the Beanstalk, which was the first Drury Lane
pantomime to be played at the Shakespeare. Principal parts
were filled by Maggie Duggan, Ethel Haydon, George Robey,
and Fred Zola.
On September 2, 1901, Mr. Charles Frohman asked the
patrons of the Shakespeare to sit in judgment upon the
Sherlock Holmes of Conan Doyle and William Gillette. A
favourable verdict was given. On November 8, 1901,
Edward Terry submitted a new three-act farcical comedy,
written by Sidney Rosenfeld the American play^^right, and
entitled The Purple Lady. The Yuletide piece was Robinson
Crusoe, written by William Wade, the talented author of
many pantomimes. Lelia Roze figured in this as the ship-
wrecked mariner.
On Thursday, September 18, 1902, the theatre, subject to
the existing lessees' rights, was put up for auction by Mr.
William Thomson at the Law Association Rooms, Cook Street,
but was bought in by Mr. Temple, of Liverpool and
Warrington. Aftervvards the property was acquired by Mr.
Robert Arthur, managing-director of the Robert Arthur
Theatres Company, Limited. The lease of the Shakespeare
Theatre Company, Limited, has, however, still a number of
years to run.
The romantic comedy in four acts, entitled Monsieur
Beaucaire was produced by Lewis Waller for the first time in
England on October 6, 1902.
Dick Whittington, from the pen of Wilham Wade, was the
Christmas attraction of 1902. Ada Blanche was the bold
London 'prentice. Cinderella was pla^^ed the following
Christmas. On May 23, 1904, Wilson Barrett commenced^ an
engagement of three weeks. On May 27, he submitted his
own play In the Middle of June for the first time in Liverpool.
On Jvme 9, he appeared in another new piece from his own
pen, entitled Lucky Durham, then performed for the first
time on any stage. Saturday evening (June ii) was the last
night of his engagement, and on it he played Wilfred Denver
in The Silver King. This was his last appearance on any
stage, as he died, greatly regretted, on July 22 following.
A new play, entitled Dr. Wake's Patient was produced for the
first time on any stage, on September 5. On December 24,
ANNALS OF THE LIVERPOOL STAGE 331
Aladdin was produced. In the cast were Carrie Moore, Billie
Burke, George Graves, and Frank Danby. William IVIoUis-
son appeared in Beside the Bonnie Brier Bush on the occasion
of its production on April 3, 1905. Mrs. T. P. O'Connor's
play The Temptation first saw the footlights here on Jime i
following. Another first production was William Gillette's
play Clarice, brought out on September 4. The 1905-6
annual was The Babes in the Wood, and the succeeding
pantomime, Mother Goose. On November 2, 1907, John Hare
took his farewell of the Liverpool stage in A Pair of
Spectacles and A Quiet Rubber. The 1907-8 pantomime was
Cinderella.
THE NEW THEATRE ROYAI..
This establishment, which is situated in Breck Road, was
built by Mr. Thomas Montgomery, and opened on December
24, 1888, with Arthur Rousby's Company. The Bohemian Girl
was the opening attraction, followed during the week by
performances of Maritana and Figaro. Afterwards a capable
stock company was engaged for the exploitation of notable
plays. Later on there came visits from travelling companies.
On May 13, 1889, a variety bill was provided with
Henri Clark as the ' star.' Afterw^ards resort was again
made to the emplo5''ment of touring companies. Among
those who appeared at that time on the stage of the Royal
were Walter Passmore, Lawrence Daly, Lester Collingwood,
WiUiam Calvert, Martin Adeson, Horace Wheatley, Walter
Groves, Butler Stanhope, Grace Edwin and Clara Cowper.
On August 3, 1891, the house was opened as the Theatre
Royal Palace of Varieties, and so remained tmtil about a
couple of years ago, when up-to-date drama played by a stock
company on the popular two-houses-a-night principle, was
reverted to. This has proved very successful, and Mr.
Matthew Montgomery is to be cordially commended for
having reintroduced the old 'stock' system into Liverpool.
Mr. Frank O'Toole is the acting manager, a position
which he has worthily filled for a number of years.
THE STANHOPE THEATRE.
On the east side of Beaufort Street there was erected in
1805 an ecclesiastical bviilding of no great architectural
332 ANNALS OF THE LIVERPOOL STAGE
pretensions. It was tenanted for years by the Calvinistic Meth-
odists, who christened it the Ebenezer Chapel. After their
secession, Mr. Butler Stanhope, of the Theatre Royal, Birken-
head, converted the building into a theatre, and opened it in
November, 1894, with The Shaughratm. The part of Conn
was cleverly played by Mr. Stanhope, who was ably supported
by a stock company. In January of the following year, Mr.
Stanhope brought travelling companies, the first being Mr.
W. E. Langley's combination in The Scarlet Brotherhood, a
play which had first seen the Hght at the Royal Muncaster
Theatre, Bootle. When Mr. Stanhope severed his connection
with the theatre he was succeeded by Mr. John Walters, who
renamed the house the Queen's. Mr. Walters did not remain
long, and now, (like its near Thespian neighbour, the Royal
Park), the Stanhope is used as a warehouse.
THE LYRIC THEATRE.
The Lyric, situated in Everton Valley, was built by Mr.
EUis Brammall, junr., and opened by Mr. H. C. Arnold on
Boxing Day, December 26, 1897, with J. H. Wolfe's panto-
mime of Blue Beard. The following were the chief items in
the cast : —
Blue Beard Mr. W. H. Moss.
Ibrahim Mr. John P. Dane.
Fatima Miss Marie Free.
Sister Anne Mr. James Norris.
Abmdtc'' } ^^^^'^- ^""""^^^ "^^ ^^'^■
Selim Miss Laura Lyle,
An interior view reveals an attractive theatre, rich in
crimson velvet, polished mahogany, and cream and gold
adornments. The ceiling dotted aU over with electric lights,
is a beautiful piece of ornamentation. In the foyer there is a
handsome carved oak centre-piece and an electric Ught
candelabra. The theatre will comfortably seat nearly 2,000
persons. The fagade, which contains all the doors of entrance,
is in terra-cotta brick work, with stone rehefs.
ANNALS OF THE LIVERPOOL STAGE 333
Mr. Arnold, the lessee and manager, is a Liverpool man,
bred and bom, and first saw the light in Crown Street, about
the middle of the 'fifties. Destined by his parents for a
commercial career, he soon exchanged the prose of business
for the poetry of the stage. After gaining experience in
local amateur dramatic circles, he made his first appearance
on the professional stage at the Amphi' in the autumn of 1871,
As an actor he speedily won a name for himself, and in course
of time successfully appeared on every stage in his native city.
For a number of years he was a prominent member of the
famous Rotunda stock companies. After touring with his
own company for some years, he decided to abandon the road
and have a theatre of his own. Happily, his choice fell upon
the I^yric, which from the commencement has been a credit
to himself and to his native city.
Mr. Arnold is a P.M. of the I^verpool Dramatic I,odge
(itiog), and also P.P.J.G.D., of the Province of West
Lancashire.
During the time the Lyric was a dramatic house Mr.
Arnold always placed before his patrons the best talent. Some
of these attractions were : — The Sign of the Cross, The Great
Ruby, Pink Dominoes, Tommy Dodd, Morocco Bound, The
Shop Girl, The Skirt Dancer, The Neia Boy, In Old Kentucky,
Cheer, Boys, Cheer ! The Trumpet Call, Sweet Lavender, Tommy
Atkins, The New Barmaid, Under the Red Robe, The Celestials,
The Lady Slavey, A House of Mystery, Gentleman Joe, The
Gay Parisienne, Woman and Wine, Betsy, The Lady of Ostend,
Why Smith Left Home, The Brixton Burglary, The Bell-Ringer,
La Poupee, Orlando Dando, The Prodigal Daughter (Mr. Arnold's
own company), A Soldier and a Man, A Night Out, Charley's
Aunt, The Middleman, The White Queen, Saucy Sally, The
Circus Girl, The Lights 0' London, The Geisha, A Woman of
No Importance, Quo Vadis ? The Silver King, The Sorrows of
Satan, Les Cloches de Corneville, David Garrick, A Royal Divorce,
One of the Best, The Private Secretary, and A Runaway Girl.
At this house there has only been one first production,
viz. : — The Principal Boy, produced June 5, 1899.
Mr. Arnold has presented here three pantomimes, the first,
that with which the theatre opened, the second, Cinderella
(December 24, 1898), and the third (in conjunction with Mr.
Sidney Cooper), Robinson Crusoe, produced on December 23,
1899.
334 ANNALS OF THE LIVERPOOIv STAGE
Mr. Arnold ran his theatre as a dramatic house for over
five years, but finding that the pubhc taste was more for the
variety business he converted the Lyric into a popular two-
houses- a-night variety theatre. The opening performance
under the new order of things, took place on Easter Monday,
1903. The Lyric has proved one of the most successful variety
theatres in Liverpool.
Mr. Fred Coles was the acting manager from the time
the theatre was first opened down to June, 1907, when he
was reluctantly compelled to resign the position through ill-
health. He was succeeded by Mr. H. C. Arnold, junr. Mr.
James Hargreaves is the present musical director. His pre-
decessors have been Messrs. George Chapman, junr., Arthur
Workman, and James Taylor.
THE CONCERT HALLS.
The Music Hall, a plain brick edifice, stood in Bold
Street at the comer of Concert Street. The hall, which was
built in 1786 by Mr. Wilson on land purchased from Mr.
Jonas Bold for £120, was opened in June of that year. It
witnessed the triumphs of the greatest musical celebrities
of the day — Braham, Salmon, Catalani, Pasta, and others ;
but it ultimately declined in popularit>', and became con-
verted to the prosaic purposes of trade.
The Portico Rooms. This establishment was situated
in Newington, and was in existence prior to 1841. It was
erected for panoramic exhibitions, concerts and lectures, and
musical entertainments. On December 11, 1843, W. J.
Hammond gave his popular entertainment, ' A Night with
Punch.' Here, on February 10, 1844, General Tom Thumb
made his first appearance in England. He was brought over
by P. T. Bamum. Madame Celeste of the Theatre Royal
placed her private box, immediately on his arrival, at the
great showman's disposal. This was pohcy on Madame's part,
as she had an eye to ' lifting the shekels ' in America. In
January, 1849, the name of the Portico Rooms was changed to
Stiles' bowling saloon. Afterwards it was known as the Liver
Bowling Hall.
THE MUSIC HALI<, BOLD STREET.
From a uoodcut by Alexander Mosses, circa 1810.
ANNALS OF THE LIVERPOOIv STAGE 335
Hime's Music Hall. This building was erected on the
site of the old Music Hall in Bold Street, and opened on Oct-
ober 24, 1853. It was an elegant room, the decorations being
rich and chaste. There was seating accommodation for nearly
a thousand persons. The hall is now used for commercial
purposes.
Royal Assembly Rooms. This establishment was first
known as the Templar's Hall. In 1842 the building was taken
by Edmund Elliston,* son of Robert William Elliston,
the comedian and patentee of Drurj' Lane Theatre, London.
EUiston altered the place considerably and laid down a
splendid floor. He engaged a London architect, Charles
Reid, to superintend the work. The hall was opened by
Elhston as the Royal Assembly Rooms, with a view to giving
concerts and balls. Here in January, 1844, Braham, the
famous vocalist, sang. On May 17, of the same year, Samuel
Lover, the Irish noveHst, gave a series of readings. In August,
1845, Signor Orsini conducted a number of concerts. Mr.
and Mrs. German Reed gave their celebrated entertainment
here on November 4, 1856. The rooms are situated on the
east side of Great George Street, nearly opposite the Chapel.
The Philharmonic Hall. The Liverpool Philharmonic
Society was estabUshed to meet the want of a regular supply
of high-class pubhc musical performances. ^Meetings were
held at first in a large room in Great Richmond Street, at
the back of St. Anne's Church. The members found the ac-
commodation inadequate, and they decided to build a hall
worthy of the object to which they were devoted. The Phil-
harmonic Hall in Hope Street was the result. The cost of the
building was about ;^30,ooo, and the money was raised by
shares. The first stone was laid on September 23, 1846, and
the building opened on August 27, 1849. '^^^ architect was
Mr. John Cunningham of Liverpool. The leading artists at the
opening performance were Mesdames Grisi, Alboni, Catherine
Hayes, Corbari, L. Corbari, MacFarren, A. and M, WiUiams,
and Viardot Garcia ; Signori Mario, Lablache, Bartolini,
TagUafico, Polonini, Covas, and Herr Formes ; Messrs. Sims
• A daughter of Edmund EUiston resides in Canning Street.
336 ANNALS OF THE LIVERPOOL STAGE
Reeves, Lockey, Benson, and Whitworth. Among the instru-
mentalists were Benedict, Piatti, Bottesini, Halle, Ernst,
and Vivier.
It was in this fine hall on February 13 and 14, 1852, that
the Amateur Dramatic Society in connection with the Guild
of Literature and Art gave perfonnances of Sir Edward Bulwer
Lytton's new four-act comedy Not So Bad As We Seem ;
or, Many Sides to a Character, and of a piece called Mr.
Nightingale's Diary. The primary object of the performances
was * to encourage Life Assurance and other provident habits
among Authors and Artists ; to render such assistance to both
as shall never compromise their independence ; and to found
a new Institution, where honourable rest from arduous labour
shall still be associated with the discharge of congenial duties.'
The performers included Charles Dickens, Douglas Jerrold,
John Forster, Mark Lemon, Charles Knight, Wilkie Collins,
John Tenniel, and Dudley Costello.
It was here that Thackeray lectured in September
and October, 1852 ; and it was here too, that the breakfast
was given in 1853 in commemoration of William Roscoe.
The artists engaged at this hall are always of the first quaUty
and the concerts give ever>' satisfaction.
The Concert Hall. This bviilding was situated on the
north side of Lord Nelson Street. It now forms part of
Messrs. Cope's tobacco establishment. The hall was pro-
jected by Mr. John Finch, senr., an extensive iron merchant
of the town. It was erected for the use of the SociaHsts,
Mr. Finch being a disciple of Robert Owen. The hall was
opened as ' The Hall of Science.' It was a spacious building
with a gallery' on three sides, and had a seating capacity of
2,700 persons. The hall, which at one time was called the
Nelson Assembly Rooms, was one of the most popular places
in towTi for concerts in general, for the holding of public
meetings and the dehver}' of lectures. The Saturday evening
concerts were very successful, the attendance being uniformly
large. Sims Reeves was here on March 23, 1849, and in April
Samuel Lover came to give a series of readings. On May
18 and 25, 1850, the hall was engaged by Harry Boleno for
his friend, David Prince Miller, author of ' The Life of a
Showman.' Mr. Miller's entertainment was entitled 'Never
ANNAI^ OF THE IvIVKRPOOL STAGE 337
Despair ; or, the Ups and Downs of lyife/ and was ' illustrative,'
he tells us in his book,* ' of various exhibitions I had been en-
gaged in during my checkered career, with anecdotes of
celebrated actors I had met with on and off the stage.
Much to my astonishment I was eminently successful.'
In January, 1859, the celebrated Lola Montez gave a
lecture on ' Strong-Minded Women.' On April 30, i860, the
Terry ' Children, Kate and Ellen, appeared in a couple of
drawing-room entertainments entitled ' Distant Relations,'
and * Home for theHohdays.' Ellen Terry was then in her
thirteenth year, having been bom on February 27, 1848.
This was one of her first visits to Liverpool. Mr. Terry and
his children when they visited Liverpool used to stay at a
house of spacious proportions which stood at the corner of
Birkett Street and Richmond Row.
In a recent number of * M.A.P.'f Ellen Terry tells
us that ' her mother took Kate to London and she was left
with her father in the provinces for two years. I can't
recall much about those two years except smisets and a
great mass of shipping looming up against the sky. The
sunsets followed me about everj'where, the shipping was in
Liverpool, where father was engaged for a considerable time.
He never ceased teaching me to be useful, alert, and quick.
Sometimes he hastened my perceptive powers with a slipper,
and he always corrected me if I pronounced any word in a
sUpshod fashion. He himself was a beautiful elocutionist,
and if I now speak my language well, it is in no small degree
due to my early training.'
Arthur Sketchley visited in 1867, and told about
* Mrs. Brown on her Travels.' Henry Russell was always
a great favourite at the Concert Hall. Large and appreciative
audiences used to gather to hear him sing to his own ac-
companiment ' To the West,' ' The I\^ Green,' ' Man the
Lifeboat,' ' Cheer, Boys, Cheer ! ' and other excellent items
in his repertory.
There was a large room beneath the hall in which, occa-
sionally, public meetings were held. It was here the Par-
liamentary Debating Society (a mimic embodiment of the
• • The I,ife of a Showman,' p. 155. t Ju^i* 8» 1907.
338 ANNAI^ OF THE LIVBRPOOI. STAGE
Parliament of St. Stephen's), held its meetings. Ultimately
the hall was sold, and, as previously mentioned, is now
devoted to commercial purposes.
THE VARIETY STAGE.
The ' Free and Easies ' and Concert Rooms.
To look at the magnificent Palaces of Varieties in I^iver-
pool, and other places, one would hardly imagine that less than
half a century ago the prototypes of these places of amuse-
ment were conducted on ver>' different and vastly inferior
lines. The impartial observer who chances to know the
whole story cannot fail to note with satisfaction the wholesome
revolution which has been accomplished in this class of enter-
tainment.
In lyiverpool, as in other cities and towns, the protoplast
of the music hall was the tap-room of the public house. These
rooms were generally known as ' free and easies,' and they
did not belie their title. In some of them there was no plat-
form, and the singer had to ' take the floor,' and make the
best of his opportunities.
In some of the concert-rooms performances took place
upon a small platform erected at one end of the room, and
upon this the artists did their level best to entertain their
patrons as they sat at little tables partaking of refreshment.
In the old days the generality of the performers seldom used any
make-up, and had to stand or fall purely on their merits.
Several of the concert-rooms had their own particular vocal-
ists, some of whom were clever enough in their way. If the
comic singer had a song with a good rollicking chorus his
success was all the greater. Everybody joined in the chorus,
whether he had a voice or not, and frequently, someone who
had imbibed ' not wisely, but too well,' would finish up a few
bars behind, to the great amusement of the company. Any
member of the audience was at liberty to give a taste of his
quality, subject of course to the approval of the chairman,
who sat in state. The chairman's insignia of office was a
little wooden maUet, with which he rapped for order, or made
ANNALS OF THE LIVERPOOL STAGE 339
signal taps when about to introduce an entertainer with
a few complimentary and well-turned phrases. In those
days it was considered a great honour to sit at the chairman's
table, and an additional honour if the great man condescended
to drink or smoke at the visitor's expense. Admission to
the concert-rooms was invariably free, a small extra charge
being made for the refreshments.
Although a number of the concert-rooms were respectably
conducted, there were some, I regret to say. of a more or less
disreputable kind. In order to show how the music haU
has progressed, let us see what the inside of a certain type
of free concert-room was like about half a century or so ago.
The house selected is one which was situated in the neigh-
bourhood of Wilhamson Square. On the lamp over the door
is the word ' Poses.' Congregated round the bar inside
are a number of women and foreign sailors, all in
various stages of intoxication. After ascending a flight of
very rickett>' stairs we reach the concert-room — a long, narrow
apartment in a filthy state. There is a stage about two feet
from the floor ; the drop-scene is tattered and dirty. Forms
for the accommodation of the audience are ranged along each
side of the room, leaving a passage down the centre for the
waiters. No charge is made for admission, but the visitor
has to pay threepence for a refreshment ticket. There is
a piano in the room presided over by a httle hunchback, who
is smoking — when he is not coughing. Seated by him is a
gentleman who plays the violin — when, and how, he Hkes.
A bell is rung and the fiddler makes his appearance on
the stage, as a violinist. He afterwards warbles about the
joys of single blessedness, but finds himself persistently
interrupted by the sailors who are audibly kissing the bare-
necked, lightly dressed girls who have them ' in tow.' The
singer refuses to continue, and reseats himself by the side of
the pianist. He explains to the proprietress of the room
that he can't finish the song, and that if she wants it
finished she must do it herself, ' for I'm d if I can
work, and I'm d if I do.' ' WTiat's to do ? ' asks a
gentle creature with several dinges in her face. ' That's
what you get for pajdng a fellow beforehand. Why he's
cheeky now he's got his tin.' 'Oh ! let him goto
' rephes the lovely nymph.
340 ANNAIvS OF THE I.IVERPOOI. STAGE
After a brazen damsel had sung a couple of songs, the
fiddler,— who certainly was drunk — jumped upon the stage, and
announced that the next performance would be Adam and Eve,
in three pictures. Adam and Eve were in skin tights. Eve
wore a garland of fig leaves, or some other botanical
equivalent, but saving ' the breeches ' the dress was strictly
historical. The tableaux were ' Adam and Eve in Paradise,'
' Eve's Astonishment at Beholding Adam,' and ' The Consum-
mation of Bliss.' The third tableau finished, Eve condes-
cended to sit near and drink with a sailor ' half seas over,'
and obligingly informed him that they performed also ' The
Morning and Evening Star,' * The Graces,' and other beautiful
pictures when there was a good company in the room.*
In ' Playhouse Square ' (Williamson Square), as our
forefathers called it, there were, as far back as the 'forties,
several old concert-rooms. Harry Boleno, the celebrated
clown, used to hold ' a select harmonic meeting ' each
evening at his hostelry, the Clown Tavern, adjacent to the
Theatre Royal. In 1854, he left lyiverpool and migrated to
the Catherine Wheel, in Windmill Street, Haymarket, opposite
the Argyle Rooms, in London.
Jem Ward, a hard-hitting pugilist with some literary and
artistic ability, held harmonic evenings when ' mine host ' of
the Star and York Hotels. In the large room of the York
Hotel, which was situated at the corner of Williamson Square
and Tarleton Street, ' Baron ' Nicholson, of the Garrick's
Head, Bow Street, Covent Garden, estabhshed a Judge and
Jury Society in September, 1843. Nicholson, who was the
originator of the Judge and Jury Clubs, advertised that * the
Entertainment is one of forensic display in costume,
eloquence, and fun ; its features involve wit, learning, and
oratorical excellence.' The legal gentlemen of Liverpool
were specially invited to attend.
The large room in the York Hotel was called by Nichol-
son ' the House of Lords,' and it was fitted up as a regular court.
There was a bench for ' M'lud,' and on either side sat Counsel,
all of whom were bewigged and gowned. The entertainment
consisted of mock trials dealing with Society scandals of the
Irfverpool Life : ItsiPleasures, Practices,' and PastimeB,' (1857),' pp. s6-8.
ANNALS OF THE LIVERPOOIv STAGE 341
day, and the humour displayed was of the broadest kind,
frequently merging into rank obscenity.
Musical evenings were also given at Evans's supper-
rooms,* on the right-hand side of Upper Dawson Street ;
in the ' Square ' at Dick's Albert rooms ; at the Shakespeare
Tavern ; and at the Black Bess Tavern, where a Judge and
Jury Club used to be held. At places like Evans's Song and
Supper Rooms, hot suppers, admirably cooked and served up,
were obtainable up till one or two a.m., and gay and festive
feeders could Usten at the same time to the singing of comic
and sentimental vocalists. Liquid refreshments of all kinds
and cigars were also to be obtained.
Several of the concert-rooms were situated in Lime Street-
In the 'fifties and 'sixties there were in that thoroughfare
the ' Hop ' Temperance Free and Easy ; the Albany Concert
Hall ; the St. George's Concert-rooms, 50, Lime Street ; and
the Garibaldi Concert Hall, which was located on a portion
of the site now occupied by the New Tivoli Palace of
Varieties.
The Savoy and Vines' Pavilion, in Lime Street,
were always popular places of entertainment. In 1886
Joseph Vines, son of Mr. A. B. Vines, apphed to the magis-
trates for a provisional license in respect of new premises to
be called the Pavilion Theatre of Varieties. Mr. Segar, who
appeared for Mr. Vines, stated that it was intended to recon-
struct the Hcensed vaults held by h'm, and to take in
the licensed premises held by Mr. Vines, senior, at 81 and
83, Lime Street. The projected building was to be capable of
accommodating 1,100 people. The scheme was opposed by
Mr. Taylor, barrister, on behalf of the Adelphi Hotel Company,
the Grand Hotel, the Real Property Company, and others.
Ultimately the magistrates refused the application.
Among other concert-rooms were the Edinburgh Castle
in Lime Street ; the Queen's Arms in Richmond Street ; and
the Crystal Palace in Button Street. Other concert-rooms
were Farmer's, the Great Eastern, and the Blue Anchor.
Then there was the London in St. Anne Street, kept by
Mr. ' Bill ' Bailey, and situated where the Royal Liver
* A branch of the famous Covent Garden rendezvous.
342 ANNAI^ OF THE LIVERPOOIv STAGE
Friendly Society has now its branch office. In Scotland Road
there were the Great Northern Concert Rooms, and the
Rotunda.
THE STAR MUSIC H.^LIv AND THEATRE.
Beneath the shadow of the Theatre Royal there stood
more than half a century ago, on the site now occupied by
the Star Theatre, a noted hostelry and concert-room called
the Star.
The exterior appearance of the Star was that of a dwelling-
house, the entrance being up some steps. Inside, the concert-
room consisted of what at one time had been the front and
back parlours, made into one, and at the further end was
a small stage. In the early 'forties the proprietor of the
Star was Jem Ward, who established harmonic evenings
there. In 1845, Ward left to take the York Hotel at the cor-
ner of Wilhamson Square and Tarleton Street. He was suc-
ceeded, in 1847, by Mr. Hann'lton, who advertised that the
admission was free to the concert-room, and that he purveyed
chops, steaks, and wines in first-class style.
Emmanuel Braham was proprietor of the Star in the
early 'sixties. He was succeeded, as proprietor, by David
Lazarus. In 1866 it was advertised that the Star Concert
Hall would close on July 2, for the purpose of erecting the
New Star Music Hall.
The New Star Music Hall was opened by the proprietors,
Messrs. Ambrose, Fineberg, and Lazarus, on December 26,
1866. Messrs. Joe Simmons and Dan Saunders were the
joint managers. The New Star was capable of holding be-
tween 1,800 and 2,000 persons, and cost about £22,000. The
interior of the house was designed after the Oxford in London.
The scenery was by Telbin, and there were seventeen per-
formers in the orchestra.
The following is a copy of the opening biU :
ANNAIvS OF THE LIVERPOOIv STAGE 343
The New Star Music Hall,
Williamson Square, Liverpool.
Proprietors - Messrs. Ambrose, Fineberg, and Lazarus.
Opening Night.
Programme For This Evening.
God Save the Queen . . Madame Tonneher, Mr. Busfield
and Full Band and Chorus
Overture "William Tell" {Rossini). .Orchestra
Song Miss Milnes
Serio-Comic Song Miss Julia Harcourt
Song Mr. J. Busfiel
Quadrille Orchestra
Comic Song Mr. Robert Eraser
Cavatina Madame Tonnelier
Serio-Comic Song Mrs. J. F. Brian
Fantasia- Viohn Mr. H. C. Cooper
Patter Song Mr. J. G. Forde
Grand Selection from
Bellini's Tragic Opera
Norma.
Introduction and Chorus Full Choir
Solo — " High on yon Mountain " Mr. D. Saunders.
Duet — " Cruel Norma " Madame Tonnelier and Mrs
D. Saunders
Finale and Cavatina "Gentle Goddess"
Madame Tonnelier and full Choir
Conductor Mr. H. C. Cooper
Fantasia — Pianoforte Signor G. Operti
Gymna.stic Entertainments The Brothers Victorelli
Solo — Trombone Mr. H. Russell
Grand Ballet entitled
La Fete Des Fleurs
Supported by the Misses Helen and Emma Gunniss, and a
double London Corps de Ballet
Serio-Comic Song Miss JuUa Harcourt
Sensation Song Mr. R. Eraser
Subject to alterations by the Manager.'
344 ANNALS OF THE LIVERPOOIv STAGE
The New Star was practically a success from the com-
mencement. For the first six months admission to the enter-
tainment was obtained by purchasing a check ticket which
entitled the holder to certain refreshments of the amount
specified on the check.
To the Star was always brought the best of talent ; and
to the variety stage the late Isaac Fineberg introduced
more than one artist who afterwards won fame and fortune.
For many years the Star, Liverpool, and Day's, Birmingham,
ranked high among the leading music halls of the country
and engagements at both were greatly coveted.
For many years the Star, with its one circle, its chairman,
hammer in hand, and its small tables, around which the waiters
dodged in and out in a mar\'ellous manner, was a bright and
alluring rendezvous for lovers of mirth and melody.
About 1872, David Lazarus severed his connection with
the Star, and took the Theatre Hotel in the ' Square.'
The proprietors of the Star then became Messrs. Ambrose,
Fineberg, and Noah Lees. Afterwards, there were only two
proprietors, Messrs. Fineberg and Lees, with Mr. Harris Fine-
berg, son of the former gentleman, as manager.
To give the names of all the talented artists of the variety
stage that, in days gone by, graced the boards of the Star
would take too long. To cite a few only, there have been
the Great Vance, Tom Maclagan, Ethardo, Harry Liston, the
Vokes Family, Jolly John Nash, Mackney, Blondin, George
Leyboume, Sam Torr, J. H. Milburn, Pat Feeney, W. J. Ash-
croft, Bessie Bonehill, Jenny Hill, etc., etc.
With increasing years Mr. Fineberg decided to throw off
the responsibilities of management and eventually in 1895,
sold his interest in the theatre to a company. The new
company spent some thirteen to fourteen thousand pounds
in reconstructing the house, and continued to run it as a
music hall — under the style of the New Star Theatre of
Varieties.
Success does not seem to have crowned the company's
enterprise, and, in the spring of 1898, a dramatic Hcense was
appHed for. This being obtained, the last variety enter-
tainment was given on Saturday, May 28, 1898, and when the
curtain was rtmg down, ' finis ' was written to its long and
entertaining record as a music hall.
THE STAR THEATRE.
ANNAI^ OF THE LIVERPOOL STAGE 345
The following is a copy of the final variety bill : —
'STAR THSATRE
Wilhamson Square, Liverpool.
IMTORTANT NOTICE.
A Full Dramatic License having been granted to the
above Theatre, the Management have pleasure in announcing
that, commencing Whit Monday, and week after week, will
be presented First-class Dramatic and other Novelty Enter-
tainments.
Monday, May 23rd, 1898, and every evening during the week.
The Whirlwind De Forrests ,
America's Sensational Dancers and Pantomimists.
Louise Agnes,
Ballad Vocalist.
Dagmar Wonders,
Acrobatic and Risley Performers.
Harry Kirk,
Tyrolean VocaUst and Facijil Artiste.
Mabel Kessler,
Comedienne and Post Horn Soloist.
Lily EngUsh,
Burlesque Actress.
Special engagement, direct from the Continent, of the
Kaiser Quintette,
Lady and Gentlemen Acrobats and Musicians.
Francois and Ricardo,
Equilibrists.
Flo Ross,
Serio-Comic Vocalist.
Burgo>Tie and Hilhard,
Acrobatic Posturers, Grotesques and Pantomimists.
Joe Wesley,
Negro Comedian and Dancer.
Arthur Ism ay.
Eccentric Comedian and Mimic
Lena Trewey,
Characteristic Vocalist.
Elsa Joel,
High-class Operatic Vocalist.'
346 ANNALS OF THE LIVERPOOL STAGE
On the Mondaj' following, May 30, 1898, the dramatic
season was inaugurated under the proprietorship of Mr.
Harris Fineberg by Mr. Rollo Balmain's Company, the opening
attraction being Hoodman Blind.
As a dramatic house and people's theatre, under the able
proprietorship of Mr. Harris Fineberg, the Star has prospered
exceedingly. The Star holds 2,000 persons, and Mr. Harris
Fineberg always caters excellently for^the popular taste at
popular prices.
THE PARTHENON MUSIC HALL.
It was in the early 'forties of the last century that the
Parthenon in Great Charlotte Street first came into existence.
In an advertisement for February 25, 1845, announcing a
ball, the Royal Parthenon Assembly Rooms are described as
being ' new and spacious.'
At first the place was used for various kinds of enter-
tainments. The Iowa Indians were on exhibition in March,
1845, and Bianchi's wax-works in the following August.
Exactly a year later the Rooms were under the direction of the
proprietor, Mr. J. G. Stoll, who announced that ' an unrivalled
company of dancing and vocal talent are nightly engaged.'
There was no charge for admission, the ' open sesame ' to the
entertainment being the money paid for refreshments.
Afterwards the hall was known as the Parthenon Music
Saloon, and in 1850 as the Parthenon Rooms.
From a bill dated May 20, 1850, in ' The Variety Stage,'*
I learn that poses plastiques, which of late have been such a
' boom,' are no new device, but simply a revival of a popular
form of entertainment in vogue over fifty years ago. The
following is a copy of the bill referred to :
'PARTHENON ROOMS
Great Charlotte Street, Six Doors from Ranelagh Street.
MODELS OF ART
Tableaux Vivants, and Poses Plastiques.
ANNALS OF THE LIVERPOOIv STAGE 347
The Proprietor has the pleasure to announce to his Friends
and the PubUc the complete success of this truly Classic Ex-
hibition ; and, in order to merit the patronage with which
this Establishment has, since its opening, been honoured, begs
to announce it will be his constant study to produce a
SUCCESSION OF NOVELTIES
of a superior character, which, he trusts, will meet with their
universal approbation,
THE SPLENDID DECORATIONS AND APPOINTMENTS
from Authentic Sources, are Entirely New.
MR. JOHN REED,
The Old Favourite Comic Vocalist.
MISS M. BAXTER,
The Celebrated Sentimental Singer, from the London and
Glasgow Concerts.
Programme of Tableaux and Songs for
Monday, May 20th, 1850
and during the Week
Comic Song, "Mr. Brown and Mrs. Black," ....Mr. Reed.
vSong, " Single Gentlemen," Miss Baxter.
Comic Song,. . " Don't be Foolish, Joe," Mr. Reed.
Song, " I Hear Them Speak of My Fatherland," Miss Baxter.
Tableau — Jeptha's Rash Vow.
Sacred History.
Comic Song, " The Review," Mr. Reed.
Tableau — The Sultan's Favourite Returning from
the Bath.
Composition.
Song, " The Peace of the Valley is Fled,". .Miss Baxter.
Tableau — Brutus Ordering the Execution of his Son,
In Two Tableaux.
Roman History
Comic Song, " Pity the Sorrows," Mr. Reed.
Tableau — Diana Preparing for the Chase.
A. Cooper, R.A.
548 ANNALS OF THE LIVERPOOL STAGE
;Song, "I strive to Forget Thee," . . . .Miss Baxter.
Tableau — A Bacchanalian Procession,
From the Borghese Vase.
Antique.
Lady Godiva, in character Mr. Reed.
Tableau — Daughters of the Deep.
Composition.
Song, " Who'll buy My Heart," Miss Baxter.
Tableau — Greeks Surprised by the Enemy.
Composition.
Comic Song " Ruined Cobbler," Mr. Reed.
Tableau — Lute Player.
Praider,
Song, . . " Come and let us be Happy Together," Miss Baxter.
Tableau — Amazons' Triumph.
A. Cooper, R.A.
Comic Song, Mr. Reed.
Tableau — The Grecian's Daughter.
Grecian History.
Doors open at Half -past 6 o'clock, to commence at 7, and
the Performances will be one continued routine of Tableaux
and Songs.'
This form of entertainment comprised the bill-of-fare at
provincial halls, without any special development, until the
'sixties.
After directing the destinies of the Parthenon for some
considerable time Mr. Stoll was succeeded by his son, J. G.
Stoll, junr. Stoll fils married a lady who had been an
actress. At the period of their union she was a widow with
two sons, Roderick and Oswald, the latter of whom was
bom in Melbourne, in 1867, and educated in Liverpool. On
the death of his stepfather, in 1880, Oswald Stoll left
school in order to assist his mother in the management of
the Parthenon. Oswald devoted himself principally to the
clerical side of the business, while his brother Roderick
was identified with ' the front of the house.'
THE PARTHENON MUSIC HALL.
ANNAI^ OF THE IvIVERPOOL STAGE 349^
There are many entertaining anecdotes told of Mr.
Oswald StoU's negotiations with artists in those early days.
It is said he more than once offered a few pounds per week
to ' stars ' who were then commanding large salaries. In his
negotiations he had no experience to guide him, save his
stepfather's record of payments.
Mr. Oswald Stoll in his management of the hall showed
wonderful astuteness, and was quickly recognised as an able
caterer. In after years when he came to control several
vast enterprises, his novitiate here served him in good stead.
He is now the managing-director of Moss' Empires, Limited.
The Parthenon boards have been graced by many well-
known ' stars ' in the variety firmament. The popular
favourite Vesta TiUey has been seen here more than once ;
also the Leno family (including Master Dan), Marie lyoftus,
Harry Lauder, Bransby Williams, and scores of other
notables.
In the early 'nineties Mr. Oswald Stoll and his mother
ceased to be publicly identified with the Parthenon. It was
in 1890 that Mr. Stoll, when twenty-three, made a bold bid
for fame and fortune by opening at Cardiff the first of his
many successful Empires. Mention of Mrs. Stoll reminds
me there is a tradition in the family that she must take the
first money paid for admission at the opening of a new Stoll
enterprise, in order to ensure success and good fortime.
In 1894 Mr. George Atkinson took up the managerial
reins. Later, the Parthenon came into the hands of a syn-
dicate directed by Captain W. Slater. Mr. Edwin W. Smith,
its manager, afterwards became proprietor. Early in 1904
the hall was reconstructed internally, and made more com-
modious. In 1907 Mr. vSmith severed his connection with
the theatre. Afterwards the hall was styled the Theatre
Modeme. Recently the building was acquired by Messrs.
Henochsberg and ElHs, and converted into a clothing
establishment.
ST. JAMES'S HALL AND THE NEW TIVOLI
PALACE OF VARIETIES.
When Lime Street was widened in 1845 several dilapid-
ated houses on the west side of the street were swept away,
and on part of their site, in 1847, Mr. Edward Starkie
Tuton erected the Teutonic HaU.
350 ANNAI.S OF THE LIVBRPOOI. STAGE
A decade later the ground floor section of the hall was
known as Allsopp's New Crystal Palace, while the higher
regions were called the Teutonic Upper Hall. In the latter in
1857, Hamilton's dioramas were exhibited. The wax-works
in that year contained the recently added models of
Palmer, Dove, Madeline Smith, Emile Iv'Angelier, and Captam
Rogers and his two mates. General Tom Thumb was at the
Teutonic Hall in December, 1858. The following year the
hall was styled the Theatre Variete, afterwards changing its
nomenclature to that of St. James's Hall. The proprietors
were Messrs. Wilsom and Montague.
In April, 1863, Charles Christy's Minstrels were here. In
the company was G. W. (' Pony ') Moore. On Monday, October
30, 1865, Henry Ir\T[ng commenced here his second Liver-
pool engagement. He was then a member of Mr. Swan-
borough's Comedy Company. Irving's first part in the
bill for that evening was Mr. Woodcock in the farce Wood-
cock's Little Game, and although he had no part in the second
piece. The Bride of Abydos ; or, the Prince, the Pirate, and
The Pearl, he appeared as Heartycheer in the after-piece. The
Bonnie Fishwife. In September, 1866, F. C. Bumand's
burlesque Sapho ; or. Look before You Leap was presented.
Performances were given by Jennie and Lizzie Wilmore, and
Mrs. Caulfield. The following month saw Brinsley Sheridan
here. The Leno family performed on April 20, 1867. The
family included Mr. and ^Irs. Leno, and Masters George and
Henry Leno, ' American breakdown dancers.' The two latter
were then aged five and seven years respectively. George
afterwards became the celebrated Dan Leno. Maria Simpson
(Mrs. W. H. Liston), inaugurated a dramatic season on June
15, 1867, with Foote's comedy of The Liar. The part of Jack
Wilding was portrayed by Charles Wyndhani, who also
appeared as Count Roberto in the extravaganza. La Viv-
andiere ; or, True to the Core. Other performers were Miss
Goodall and J. D. Stoyle. The ballet which followed La
Vivandiere was under the direction of those clever devotees of
Terpsichore, the Misses Gunniss. In October, Annie Thirlwall
and Henry Corri commenced an operatic season. In the
spring of 1868 the estabUshment was known as the St.
James's HaU and Operetta House. On April 20, Walter
Howard, a past-master in the art of banjo-playing, performed.
ANNAI.S OF THE LIVERPOOL STAGE 35i
The Great Vance was seen here on October 31, and the
three following nights. On March 29, 1869, Maskelyne and
Cook commenced an engagement, and on April 26 following
the Kiralfy Ballet troupe came. The hall at that time was
under the management of Mr. Henry Coleman. The
Siamese Twins, and Anna vSwan, the Nova Scotian giantess,
were on exhibition the week commencing May 31. Under
the auspices of the British Operatic Association Madame
Tonneher performed Elvira in The Grand Duchess of
Gerolsiein on June 27, 1870. Madame Tonneher afterwards
opened a singing academy in Liverpool.
I now come to the period when Sam Hague and his min-
strels made their first appearance at the hall. The Minstrels
were organised by ^Mr. Hague in Macon, Georgia, U.S.A., in
1865, and came to Liverpool in the July of the following year,
when they performed at the Theatre Royal. At that time
they were known as the American Slave Serenaders, and were
stated to be ' the only combination of genuine darkies in the
world.'
Their first appearance at St. James's Hall took place
on October 31, 1870, and for over a quarter of a century
Sam Hague successfully guided the destinies of Liverpool's
home of Minstrelsy. His troupe of performers — numbering
generally about 40 — was always of the best, and the enter-
tainments were not only bright, attractive, and amusing, but
without the slightest tinge of vulgarity.
In connection with the hall there was pubhshed about
1870, ' Hague's Minstrel and Dramatic Journal.' The first
series ran for some thirteen years under the editorship of Mr.
W. H. Lee (Mr. Hague's business manager), and subsequently
of Mr. J. H. Stringer. The first number of the second series
was issued in September, 1882. It was a small illustrated
monthly of eight printed pages, and the price was one penny.
Mr. Henry A. Duffy was the final editor.
During the course of his fifth or sixth season at the hall,
Sam Hague was the victim of a dire calamity. All his
property — for which a httle before he had given the sum of
;f30,ooo — was destroyed by fire. This sad catastrophe took
place on May 2, 1875. The fire, it is supposed, broke out
in the Green-room, or in one of the dressing rooms. The
whole of the roof, the scenery, dresses, and interior of the
352 ANNAIvS OF THE IvI\^ERPOOI. STAGE
hall soon became a charred mass of ruins. The flames^
however, were kept from spreading to the wax-works of Mr.
Allsopp midemeath, and to the adjoining County Court. Poor
Hague when he saw the destruction of his popular hall cried
hke a child. Unfortunately the hall was only partially
insured, the building for £5,000 and the fittings, etc., for
;£4,ooo. Another sad feature in connection with the fire was
the destruction of Herr Schalkenbach's famous electric organ,
which had taken a life-time to construct. It was insured for
;£900, but this did not by any means represent its value.
The Mayor (Ivieut.-Col. Steble), and a number of influential
gentlemen then organised a benefit performance at the
Amphi' for Hague and his minstrels, which was a great
success. The minstrels then went on tour, Sam Hague divid-
ing his attention between his troupe and the building of his
new hall, which he had ready for opening on May i, 1876.
The new hall was about the same size as the old building,
but it held considerably more, as a new and handsome
balcony had been added. The entrance hall and staircase
were very much enlarged. Surmounting the ornate pro-
scenium was an American eagle standing out in bold rehef
from the centre of a large wreath of oak leaves, at the back
of which there was represented, in gold, the rays of the sun.
Situated on either side of the proscenium were two figures,
emblematical of Mirth and Dancing. The opening address
was written by J. F. McArdle, and was spoken by Mr. Waldon.
It ran as follows : —
' 'Tis just a year since fire destroyed our home.
And forced Hague's Minstrels all abroad to roam.
One fatal night the flames consumed each rafter
That oft' had nmg with peals of honest laughter.
Our little stage once lit with wit's bright flashes,
Was in an hour reduced to heaps of ashes,
And Liverpool will be renowned for ages
For burning down its big and little stages.
Without a roof to shield our dusky band.
We had to wander forth throughout the land :
Though cver>nvhere we roamed, as you may guess.
We met with hearty welcome and success.
Still, we are glad, after our rambling year.
To come back home again and settle here.
ANNALS OF THE LIVERPOOL STAGE 353
But look around ! Wliat transformation strange !
Aladdin's lamp could not work such a change !
Our house before was beautiful and bright ;
But who expected such a dazzling sight ?
We shouldn't know it, so transformed the place is,
But for your welcome cheers and friendly faces.
Thanks, patrons, friends — Sam Hague and all his troupe
Know that you're glad to greet our happy group.
You see he hasn't spared time, labour, pelf,
But here he comes to thank you for himself.'
Mr. Hague then came upon the stage, and spoke the
following lines : —
* Yes, friends ; my heart and home's in Liverpool —
But work, not talking, is my usual rule.
And if my tongue, my heart's best thanks could speak,
I should be talking for another week.
I'll do my best to please, as in tlie past,
And ever strive to make our friendship last.
I know while I your faithful servant am,
Hague's minstrels you'll support, and still stand Sam.'
For a score of years afterwards Hague and his min-
strels were honourably and successfully identified with the
fortunes of St. James's Hall. In March, i8g6, the hall was
converted by Mr. James Kiernan — to whom Liverpool owes
much for the advancement of the music hall — into the
Tivoli Palace of Varieties, under which designation it was
run as a variety theatre until about the close of the century.
After being closed for several years, the building was de-
moUshed and the present structure, the New Tivoli Palace
of Varieties, erected by Messrs. Brown and Sons, of Liverpool
and Salford, from the designs of Mr. Bertie Crewe. The
opening performance took place on Monday evening,
December 10, 1906. The theatre seats about 1,500 persons.
HENGLER'S CIRQUES AND THE ROYAL
HIPPODROME.
Dale Street, or Dele Street, as it was anciently called,
has always been one of our principal thoroughfares. On
a portion of the site now occupied by the IVIunicipal
354 ANNALS OF THE IvIVBRPOOL STAGE
Offices, there stood for many years a celebrated hostelry
called the ' Saracen's Head.' From its sheltering portals
the old stage coaches, the ' Rob Roy ' and ' Tally Ho I '
rolled awaj' merrily to divers parts of the kingdom. About
1855 the ' Saracen's Head ' was demohshed. The ground, how-
ever, remained unbuilt upon imtil Charles Milton Hengler
chose the position for the erection of his circus.
This was not the first visit to Liverpool of 'Handsome
Hengler,' as he was called, he having previously appeared at
the Amphi'. Charles Hengler was a Dane, and came from
Copenhagen. He was a versatile performer, being able to
dance upon the tight-rope and perform Hamlet the same
evening, and thus display what is aptly described as a ' fine
contrast] ve talent.'
Previous to the opening of the Circus in Dale Street, on
March 16, 1857, the following notice was published : —
' Hengler's Grand Cirque Variete
Dale Street, Liverpool.
Mr. Charles Hengler, in announcing his intention of
(for the first time) catering for the amusement of the inhabi-
tants of Liverpool and its vicinity, respectfully informs them
that he has been honoured by the especial patronage of Her
Most Gracious Majesty the Queen, Prince Albert, and the
Royal Family and suite, at Windsor Castle, February, 1845,
and in 1849 '• ^^^'^ ^Y ^^^ nobihty, clergy, and gentry of every
town he has hitherto visited — a sufficient guarantee that his
■estabhshment stands pre-eminent for producing an entertain-
ment of the highest order.
' The Talented Artistes engaged are the first in the
equestrian profession. These combined with a matchless
Stud of Fifty Horses and Ponies, costly Wardrobe and
Appointments, cannot fail to render the Cirque worthy of the
inhabitants of Liv^erpool.
' The splendid building, erected regardless of expense by
Messrs. Holme and Nicol(after the style of the Cirque Napoleon,
Paris), will be found replete with every possible arrangement
for the comfort of the vast audience it is constructed to
accommodate in its several spacious and distinct apartments.
The First and Second Class Boxes are carpeted throughout,
and furnished with cushioned seats. The spacious Promenade,
f I
5: i
2 «J
^"^^
— , <s «
-3 a -2
ANNALS OF THE LIVERPOOI. STAGE 355
200 feet in length, encircles three-fourths of the building, from
every part of which an uninterrupted view of the Arena is
commanded. A magnificent Canopy will cover the interior
of the building, which will be interspersed with flags of all
nations and emblematical designs, red, white, and blue being
the characteristics of the decoration. The whole brilliantly
illuminated with gas.
' The bands will be found full and efficient, and the Enter-
tainments will consist of Scenes of Riding, Sttjds of the
Menage, Brilliant Spectacles, Equestrl\n Pageants,
etc., etc., enUvened by the Witticisms and grotesque Achieve-
ments of the Four Best Clowes of the Day.
' Reserved Seats or vStalls (select), 3s., Half-price is. 6d.;
Boxes (select), 2s., Half-price is. ; Second Seats is.. Half-
price 6d. ; Gallery 6d., no Half-price ; Promenade is., no
Half-price.
' Leader of the Quadrille Band, Mr. G. Jackman ; Leader
of the Brass Band, Mr. W. Allen ; Master of the Horse, Mr.
F, Brown ; Treasurer, Mr. C. Fisher ; Architect, Mr. O'Hara ;
Acting Manager, Mr. A. Henry ; Director, Mr. Charles
Hengler, proprietor.'
This notice, together with the excellent troupe with which
Hengler opened, had the desired effect, the stalls, boxes,
second seats, and gallery being crowded at every performance,
to the great discomfiture of Copeland of the Amphi'.
In 1861 the groimd upon which the Cirque was erected
was acquired by the Liverpool Hotel Company, and on Thurs-
day, March 14, 1861, the final equestrian performance took
place.
Hengler lost no time in establishing another circus,
and on Monday, October 21, 1861, he opened, in Newington, a
second Cirque Variete, erected for him by Messrs. Holme and
Nicol. The ' first and second-class entrance ' was in Newing-
ton, and the gallery entrance in Cropper Street. Prices here
were the same as at the Dale Street circus, and ranged from
sixpence to three shillings,
Charles Hengler in those days lived in Mount Pleasant,
and his brothers Edward and John Milton Hengler in
Elizabeth Street, where they had the riding-school, still
known by the family name.] :
356 ANNAI^ OF THE LIVERPOOI. STAGE
After the Newington Circus was demolished, and after
achieving success in the establishment of equestrian arenas
in lyondon, Glasgow, Dublin, and elsewhere, Charles Hengler
once more cast his eyes upon the scene of his early-
triumphs, and in fulfilment of a long made promise, to ' erect
a Cirque worthy of this large and appreciative community,'
he decided to build in West Derby Road a handsome and
commodious hippodrome.
Mr. J. T. Robinson, the surveyor of theatres to the Lord
Chamberlain, was the architect, and Mr. vSamuel Campbell,
of Liverpool, the contractor, the ceiling and general decora-
tions being carried out by Mr. Thomas Rogers, the well-known
scenic artist of London.
Hengler's business manager was courteous Alfred Powell,
who was associated in a managerial capacity with the Cirque
for more than a quarter of a centur>\ George Clements
was the first musical director, a position which he filled with
conspicuous abiUty for many years.
Considerable interest was evinced in the opening of
' Hengler's Grand Cirque,' which took place on Monday,
November 13, 1876, before a large and brilliant assembly.
The principal attraction of the entertainment was the per-
formance of the Jackley Troupe, eleven in number. The
clowns were Astley, Le Quips and Willie Templeton.
The first morning performance in the new Cirque was
given on Saturday, November 18, 1876, and the first Yule-
tide juvenile spectacle to be presented was The Fairy's
Garden Party in Honour of Little Red Riding Hood, given the
following Christmas.
A brief description of the exterior and interior of the
building as first opened will doubtless be of interest. The
Cirque occupied an area of 20,000 square feet, and was
built of red brick. The front elevation, abutting on West
Derby Road, was built of the best pressed red brick,
reHeved by ornamental drawings of a classical design.
WTien the Cirque was first opened the bank and shops
that now figure in front of the building were not then
erected. The floor of the principal entrance in West Derby
Road had a handsome tessellated pavement, and glazed
folding doors were placed at the end of the entrance
ANNALS OF THE LIVERPOOIv STAGE 357
hall, whilst the entrance itself had iron ornamental gates of
a bold chaste design.* In all there were five private boxes,
200 reserved stalls, 600 seats in the parterre, 2,000 in the
pit, and 1,600 in the gallery, making a total accommodation
for 4,500 persons, though on several occasions, (particularly
when the late W. E. Gladstone spoke here on September
24, 1895, on the Armenian question), this mmiber was greatly
exceeded. The Grand Old ]\Ian said of Hengler's that
' few buildings give so noble a presentation of an audience,'
and on another occasion he again described the place as ' the
most agreeable, to the speaker of all those with which he
was acquainted.' t
A great feature of the Cirque was that no matter where
one was seated a free and uninterrupted view of the arena
could be obtained ; while the acoustic properties of the
building were in every respect admirable.
At his death Charles Milton Hengler left to his sons a
handsome estate running into several figures. Both Mr.
Hengler and his wife were well known in Liverpool and
universally beloved.
As the years roUed by each successive Christmas found
Hengler's echoing with the merry laughter of old and yotmg.
A visit at holiday time to the Cirque came to be eagerly anti-
cipated, and the bare mention of the name Hengler's was
sufl5cient to make youthful eyes sparkle with glee in joyiiil
expectation of deUghts to come. But the end was at hand,
and came all too soon, for, on Saturday evening, February 9,
1901, when Mr. Albert M. Hengler was proprietor and director,
the last performance took place, and ' finis ' was written to a
long and brilhant chapter in the history of equestrianism.
After this the Cirque remained unoccupied for some
months ; in fact, until Mr. Thomas Barrasford acquired the
property on behalf of a syndicate.
Of Hengler's Cirque only portions of the four main walls
now remain. The work of demoHtion and reconstruction was
practically accompHshed in about six months' time.
• These gates now fulfil a similar duty at the principal entrance to the Royal
Hippodrome.
t.Morley's ' I,ife of Gladstone,' Vol. HI, p. 521.
358 ANNALS OF THE LIVERPOOL STAGE
The new building, which was opened on August 4,
1902, and christened the Royal Hippodrome Theatre
of Varieties, is constructed of concrete and iron, the floors
resting on iron supports on the cantilever system. An inter-
ior \dew reveals a prett>' and ornate structure, the prevailing
tints being cream and grey, picked out with gold. The
ceiling, from which hang handsome electric pendants,
is a beautiful piece of painted work (on canvas) by the clever
artist, Mr. Sicard, of London, and is emblematical of Music
and the Arts. The base of the proscenium is in marble, and
the arch itself is in yellow and reddish gold. The latter is
surmotmted by five extremely artistic paintings depicting the
Five Senses, also from the brush of Mr. Sicard ; whilst ad-
joining are two attractive paintings of Arcadian beauty,
by the same artist. The stage dimensions are 90 feet by
40 feet ; height to ' gridiron,' 55 feet ; and height to ' flies,'
2^] feet 6 inches. The Hippodrome is to all intents and
purpose square-shaped, and from any point the hne of
vision is free and uninterrupted. The stage is fitted with an
up-to-date fire-proof curtain, and the whole of the auditorium
is lighted by electricity. Both stage and auditorium are
heated with hot-water pipes, and there are conveniently
placed dressing-rooms for the artists.
By the provision of numerous exits the safety of the pubUc
and of the artists is carefully protected, each exit door being
fitted with safety panic bolts. The ventilation is another
noteworthy feature. In the main ceiling two air shafts of
4 feet in diameter, together with a 36 inch electric fan, are
constructed, whilst at the rear of the gallery there are two
exhaust ventilators and two 18 inch electric fans.
The Hippodrome is conducted on teetotal principles,
and the prices of admission are well within the reach* of
everj'body. The theatre wiU hold about 4,000 persons, and
it has a seating capacity of some 3,500. Two performances
each evening are given.
The present proprietors of the theatre are the Liverpool
Hippodrome Company, Limited, of which Mr. Thomas Bar-
rasford is managing-director. Mr. Walter Hassan (who comes
of a family well versed in the art of the stage), is the popular
acting manager. The opening of the ' Hippo,' as it is
THE MAI^AKOFF MUSIC HALI,.
ANNAI^ OF THE LI\^ERPOOIv STAGE 359
familiarly termed, marked an epoch in local music hall
annals, and Mr. Barrasford's spirited enterprise and excellent
catering have met with great success.
MASTER HUMPHREY'S CLOCK.
This popular place of resort was situated at 10 Great
Charlotte Street. Mr. Samuel Leatherbarrow was proprietor
of Master Humphrey's Clock for many years. About the
'fifties the name was changed to the Euphonic Concert
Rooms. There was no charge for admission, and the
estabhshment kept open until midnight.
THE MAIvAKOFF MUSIC HALL
The Malakoff Music Hall was brought into exist-
ence during the 'fifties, by the late Dan Lowrey. It was
situated in Cleveland Square and was a popular resort for
youthful and ancient mariners. In addition to variety per-
formances, plays and pantomimes were also submitted. In
one of Mr. Lowrey's advertisements (1864), he amusingly
stated that there is ' a private box for captains and gentlemen.'
Outside the IMalakoff there is a statue of Mr. Lowrey in one
of his favourite Irish characters. The building is still in
existence.
THE ROYAL CASINO
This place of entertainment was located in Blundell
Street, about four doors from Park Lane. It was in existence
in 1851, in which year a series of poses plastiques were given.
THE APOLLO ]\IUSIC HALL.
The Apollo Music Hall was situated in Park Lane,
nigh imto the Custom House. It was in existence over forty
years ago, and was successfully managed for a number of
years by Mr. Anderson. A favourite vocalist and comedian
36o ANNALS OF THE LIVERPOOL vSTAGE
here was ' Tom ' Bennett, whose son, John was for a long
period the chef d'orchestrd of the Parthenon in Great
Charlotte Street.
THE LIVER MUSIC HALL.
This establishment, which was located at 46 Mersey-
Street, was also known as Ceda's Music Hall. In the latter
part of the 'sixties the manager of the Liver was Signer
Antonio Devoto.
THE EAGLE MUSIC HALL.
The Eagle Music Hall was in existence in the 'sixties.
It was managed by Mr. R. Ford, and afterwards by Mr.
Levine. Outside the premises, 73 Old Hall Street, there
still remains the old insignia of the Eagle.
THE VINE.
Facing Master Humphrey's Clock in Great Charlotte Street
was another favourite place of entertainment known as The
Vine. Mr. W. F. Naylor was long the proprietor of this es-
tablishment. At Christmas, 1863, a pantomime was given,
entitled Harlequin and the Magic Wreath ; or, All that Glitters
is Not Gold.
THE CASINO.
The Casino, 23 Bevington Hill, was originally intended
for a market. In the early 'sixties it was called the Princess's
Theatre. After%vards it was opened by Dan Lowrey, who
christened it the Nightingale Palace of Amusement and
Recreation. Prices of admission (which included refresh-
ments), were threepence, fourpence, and sixpence. The
Nightingale was run on similar lines to the Malakoff. In
1870 it was called the Victoria Music Hall. When Mr. H.
Ambrose was proprietor in the 'seventies the estabUshment
was known as the Casino Temperance Hall. Subsequently
when John Tudor had it, the Casino blossomed into
ANNALS OF THE LIVERPOOIv STAGE 361
Tudor's Varieties. After other mutations, it terminated its
career as a place of entertainment some few j^ears ago. The
building, which is situated next to St. Bridget's Roman CathoUc
Chapel, is now used for commercial purposes.
THE ROYAL ALHAMBRA IVIUSIC HALL.
Mr. John Hill built and opened this hall at 226 (now 64),
Derby Road, Kirkdale, in the 'sixties. It was for many-
years a popular resort at popular prices for the inhabitants
of the north end of Liverpool, and of Bootle. The audit-
orimn and stage were situated on the first floor, the ground
floor being used as an hotel, an American bowling-alley, and
a concert-room. The Alhambra could boast of a pit and
gallery, the entrances thereto being in Derby Road and Esk
Street. Mr. John Hill, junior, succeeded his father as
proprietor, and from time to time sublet the music hall
section of the premises to different managers. Among the
latter were Mr. Charles Bishop, and Messrs. Hargreaves and
Davis. 'The Stage ' for August 14, 1885, states of the latter
management that ' they have, with their miflagging persever-
ance, succeeded in improving the behaviour of the audiences
who patronise the hall, and the entertainment is now con-
ducted in a very respectable manner.' The Alhambra ceased
to be a music hall about twenty years ago.
BELL'S ENGLISH AND AMERICAN HIPPODROME
AND CIRCUS.
It was opened with the pantomime, Harlequin and Tim
Bobbin; or, The Lancashire Witches, on December 26, 1862.
The circus was built of wood and canvas, and was situated in
Crosshall Street. Afterwards it was st3ded Myers' Circus,
and in 1864 the American Opera House. The vocalists here
were fined if they did not wear white kid gloves.
THE OXFORD MUSIC HALL.
This hall, which was situated on the position now occupied
by Mrs. Egerton's hostelry in Lime Street, was in existence
362 AKNALS OF THE LIVERPCOL STAGE
over forty years ago. In the 'sixties Mr. J. S. Eofthouse
was the proprietor. He also had the Cambridge at the comer
of Warwick Street and Mill Street, and the Queen's Hall in
Bold Street. Lofthouse used to engage for the Oxford
such people as Tom'Croslin, the celebrated negro comedian,
and Jenny Hill. Mr. Lofthouse, who also had a hall in Dublin,
afterwards became manager for Mr. Hugh Jay Didcott, and
later on started a variety agency in York Road, London.
He* was doing very w^ell at the time of his premature death
by a chill. The Oxford was afterwards managed by" Mr.
Emmanuel Braham, who was succeeded by Messrs. B. Walker
and Jonas Cohen.
THE ALHAMBRA MUSIC HALL.
In January, 1865, this place of entertainment, which
was situated at 46 Manchester Street, was announced to
open every evening with a full dramatic company. It
was then styled the New Royal Theatre. Plays and panto-
mimes were given. The theatre was situated on the first floor,
above some shops. The entrance was up a flight of steps,
and the prices ranged from 2s. 6d. (stage boxes), to 3d. (pit.)
There was also a small galler\% The theatre was afterwards
known as the Alhambra Music Hall. Mr. Harry de Frece
directed its destinies for some time. The Alhambra was one
of the first music halls in the provinces to be rim on the popular
two-houses-a-night principle. After Mr. de Frece left to take
up the management of the Gaiety in Camden Street he was
succeeded by Joe Travis. This w^as about 1876. At that
time'; the theatre was styled the Alhambra Temperance
Music Hall. The hall terminated its existence about the
close of the 'seventies.
THE CAMBRIDGE MUSIC HALL.
This hall was located at the comer of Warwick Street
and^Mill Street. The entrance was in Warwick Street. The
hall was situated on the first floor, and a balcony encircled
the" auditorium. It held from 800 to 1,000 persons.
ANNALS OF THE LR^RPOOL STAGE 363
The Cambridge was opened by Mr. J. S. Lofthouse on July 4,
1865, and was prettily decorated internally. The ceiling
and walls displayed artistic pictures of ' Science,' ' Music,'
' Night,' and ' Morning,' and ' The Seasons.' The
principal artists at the opening included Mr. and Mrs. Leno,
and the Brothers Leno, Lancashire clog, boot, and pmnp
dancers. They were succeeded by Jenny Hill, Harry
Liston, and Fred Coyne. Other performers were Tom
Croslin, the negro comedian, and Jem Mace, who gave a
series of classical poses. Mace's trophies and belts were
on exhibition at the hall during his visit. In Mr. Loft-
house's time the Cambridge was run on the one-house-a-night
system. Succeeding managers were Messrs. E. M. Davies,
B. Walker, and Joe Travis. Mr. Walker was at one time
associated with the destinies of the Oxford in Lime Street,
and Mr. Travis with the Alhambra in Manchester Street.
In Walker's time the hall was run on the two-houses-a-
night principle. On one occasion the front of the building
was destroyed by fire. The Cambridge ceased to be a music
hall about thirty years ago, and is now known as the
Templar's Hall
THE CONSTELLATION MUSIC H.\LL.
The Constellation Music Hall was situated at 74 White-
chapel, at the corner of Charles Street. The opening night
was December 24, 1866. Mr. Jonas Cohen was proprietor,
and Mr. Harr>' de Frece, manager. Admission to the stalls
and side gallery was 6d., to the body of the hall (with a
refreshment ticket), entrance in Charles Street, 6d., back
gallery (with a refreshment ticket), entrance from White-
chapel, 3d. The refreshments included wines, spirits, ale,
porter, cigars, chops, and steaks. The doors were opened
at half-past six, and the performance commenced at seven
o'clock precisely.
THE GAIETY THEATRE.
Prior to 1867 Dr. F. C. S. Corry, M.D., had entertained
the town at the Concert Hall, Lord Nelson Street, with a
dioramic entertainment. Success attended his efforts there
364" ANNALS OF THE LIVERPOOL STAGE
so well that he decided to have a permanent place for the
exhibition of his dioramas. This he found in Camden Street,
where he converted a couple of dwelUng-houses into the
Prince Patrick Hall. He opened there on February 16, 1867,
with a diorama entitled ' Ireland : Its Scenery, Music and
Antiquities/ and a company of Hibernian minstrels. The
hall then held about 1,500 people. One of the entrances
was in Back Commutation Row. On May 29, 1867, General
Tom Thmnb, who was accompanied by his wife and Commo-
dore Nutt and Minnie Warren, was here. Each day the
party drove to the hall in a miniature equipage drawn by
four small ponies. This was a splendid advertisement for
the little people.
The Prince Patrick underwent a change of title on
December 31, 1868, when it was re-opened as the Wellington
Hall by a concert party. The following year the hall was
under the management of Messrs. Craddock and Day, late
of the Royal Alexandra and Prince of Wales Theatres.
They did not hold it long as on November i of the same year
Mr. Alfred Roe (late director of the Leeds Theatre of
Varieties), succeeded them and opened the place as the New
WelUngton Varieties. On June 6, 1870, Lydia Howard, who
was only six years of age, gave a musical and dramatic
entertainment, in which she was assisted by a talented
company. Towards the close of 1870 the hall blossomed
into the Gaiet>' Theatre, with Mr. Frank Clive as managing-
director. The following year it was again styled the Welling-
ton Hall. In October, 1872, when Professor Anderson ap-
peared, it was christened the Royal Temple of Magic.
On April 13, 1874, the theatre was again opened as the
Gaiety. Mr. Naylor Roberts was proprietor, and our towns-
man Mr. (now Sir) Charles Wyndham was the manager. On
the opening night Committed for Trial, and Little Tom Tug
were performed. Wyndham played in the former piece.
The theatre, which was redecorated for the occasion, could
then boast of stalls, dress-circle, pit, and gallery.
The Gaiety was afterwards run by a Umited liability
company. Next came Mr. C. H. Duval, who opened it on
September 22, 1874, with an opera boufife company in La Fills
de Madame Angot. After Mr. Duval left to manage the
Colosseum in Paradise Street he was succeeded by Mr. Harry
ANNALS OF THE LIVERPOOI. STAGE 365
de Frece. This was about 1877. In the early 'eighties
the house was known as the Gaiety Temperance Theatre.
One Monday evening in October, 1886, a fire broke out at
the back of the stage, in the neighbourhood of the gas meter.
Fortunately, one of the employees had the presence of mind
to turn the gas oS at the main and so prevented what might
have been a serious conflagration.
About 1890 the theatre was styled the Gaiety Varieties.
Mr. Harry De Frece still directed its destinies. .4iter he left
the Gaiety changed hands more than once. Subsequently, at
a period when it had been closed for some time, Mr. Henry
Newbold of this city applied to the magistrates for a Ucense
to open the theatre, but the apphcation was refused. The
building is now used for commercial purposes.
THE LONDON MUSIC IL\LL.
After Mr. Joe vSimmons severed his connection as manager
with the Star in WilUamson Square, he, in July, 1869, opened
the London, 20 Richmond Street. The establishment, which
at one time was known as the Liver, was afterwards managed
by Mrs. Joe Simmons. In 1878 it was under the control of
Mr. Murray.
THE CONTINENTAL MUSIC H-^I.L.
This hall was located on the west side of Hotham
Street, near the corner of Lord Nelson Street. It was
opened by Mr. F. W. Hoffmann on February 18, 1871.
THE PEMBROKE HALL.
The proprietor of this hall was Mr. H. Scott, and it was
opened on December 14, 1874, by Mr. Randall Wilhams with
his ' HobgobUnscope ' entertainment. In 1875 it was known
as the Pembroke Hall and Theatre of Varieties, in which year
a Christy Minstrel Troupe gave performances. In 1876 it
366 ANNALS OF THE LIVERPOOL STAGE
-was used as a skating rink, and subsequently for a variety of
other purposes. The hall, which is situated at 38, Pembroke
Place, is now in the occupation of the Salvation Army.
THE HAYMARKET MUSIC HALL
This hall.which is located on the south side of Beau Street,
■was opened by I\Ir. WiUiam Kerr, with Mr. W. Thomas as
manager and scenic artist, on Monday, November 27, 1882.
The Haymarket is capable of seating over 2,500 persons.
The hall was designed for the purpose of giving two perfor-
mances nightly, a special feature being the arrangement for
the mode of entrance and egress of each audience. All crush-
ing and inconvenience is avoided by the first house leaving
by doors opening at the back of the premises.
After Mr. Kerr severed his connection with the hall,
he was succeeded by Messrs. Alfred Farrell and Fred Willmot.
The last mentioned gentleman, who is a native of Liverpool,
afterwards directed its destinies alone. The prices in his
time varied from one penny to a shilling. Jovial Joe Elvin
used to perform his sketches here, and the Star Comiques
of London visited the hall in turns.
On one occasion Mr. George R. Sims, the well-known
author, visited the Haymarket, and was courteously conducted
over the establishment by Mr. Willmot. ' Dagonet ' afterwards
recovmted his experiences in ' The Referee.'* *I stayed,' he
wrote, 'for two hours at the Haj'market. I went up into
the gallery, and sat among the penny boys. I went down
into the twopenny pit, and sat among a crowd that had to
swing all one way when it laughed, because there was no room
for a double movement ; and from first to last I foimd the
entertainment clever and smart and the ' star ' turns of the
West End order.
' During the evening a little incident occurred which shows
that even in a cheap music hall class distinctions will assert
.themselves. To go from the pit to the galler>' I had to pass
• September 9, 1900,
ANNALS OF THE LIVERPOOI. STAGE 367
the transfer box. A young man stood in front of it inter-
viewing the manager. His case was a peculiar one. He had
paid a penny to go from the gallery to the pit, because he
thought there was more room. Now, he had returned from
the pit, and this was the dialogue :
'Man : "I don't want my money back, governor, but can
I go into the galler>' again ?" Manager (astonished) : "What-
ever do you want to go back into the gallery for ? You paid
extra to get out of it ! " Man : " Oh, I aren't comfortable
down there ; they're too d aristocratical for me." The
manager gave the man his penny back and laughed aloud.
The aristocracy of the twopenny pit tickled him im-
mensely.'
Mr. Willmot successfully managed the Hajmiarket until
1906. Afterwards Mr. Edwin W. Smith, formerly of the
local Parthenon, was the lessee and manager.
THE WESTMINSTER MUSIC HALL
This popular north-end variety theatre, which had pre-
viously been a club, was opened by Mr. Thomas Montgomery
and Mr. James Kiernan on April 11, 1887, with J. H. Milbum
and a good variety company. The following year the West-
minster was altered and made larger. The stage door of the
Westminster was situated opposite to some very small houses.
In one of them hved a homy-handed son of toil, who, on
every possible occasion used to breathe anathema against the
stage and all its works. On one occasion a battery of guns
used in a certain play broke all the glass in this worthy's
windows. This naturally annoyed him ; but the climax came
with the engagement of an elephant called ' Sheriff.' ' This
elephant,' Mr. Kiernan recently told an interviewer in a local
journal,* ' took upon himself to avenge the wrongs of his
brother artists, and backing against the wall knocked the
whole house down. The tenant's choice of adjectives after
that was an education to everybody.'
• ' I,iverpool Theatrical News,' August 26, 1907.
368 ANNALS OF THE LIVERPOOI. STAGE
After Mr. Kiernan left the Westminster the late Matthew
Montgomery directed its destinies. Mr. Montgomery was
succeeded by his son, Mr. Matthew Montgomery. The theatre
is held at present by Mr. Fred E. Weisker.
THE PADDINGTON PALACE.
This variety theatre was opened by Mr. James Kiernan
on September 4, 1889. In 1891 it was altered and made larger.
Variety business on the popular two-houses-a-night principle
was successfully conducted here for a number of years. Lat-
terly drama, twice nightly, has been the staple fare.
KIERNAN'S OLYMPIA HIPPODROME AND
CIRCUS.
This place of entertainment was opened on Monday
February 29, 1892. It was situated in Overton Street
Wavertree Road, and the lessee and manager was Mr. J
Sidney Childs. The Circus, which was designed by Mr. J
Havelock Sutton, architect of the Shakespeare Theatre
was a handsome building internally. The performers on the
opening night were James Newsome, Kennette, the Brothers
Echo, Verdi, and Rossini, Mdlle. Marie, Mdlle. Ella Bertha,
Miss Virginie, James Powell, Carl Anthony, Young Claude,
^Idlle. Marguerite, James Hunt, and Le Quips. The build-
ing was destroyed by fire on May 28, 1892. The site is
now occupied by Mr. Kiernan's New Kursaal, which was
opened on November 2, 1907.
THE ROSCOIMMON IMUSIC HALL.
This hall, which is named after the street in which it is
situated, was opened about 1892, and was constructed out
of a couple of spacious dwelling-houses. Mr. John Har-
greaves was long and successfully identified with the fortunes
of the Roscommon. After undergoing other changes in man-
agement, the theatre passed recently into the hands of Mr.
Fred Willmot. At first Mr. Willmot ran the Roscommon
ANNALS OF THE I.I\^RPOOL STAGE 369
as a variety theatre, but finding that drama twice nightly
was more suitable to the taste of patrons he has adopted
that S37stem.
THE PARK PALACE.
The Park Palace was opened by ^Ir. James Kieman on
December 11, 1894, and was run as a variet>^ theatre until
recently. Latterly, dramatic fare on the two-houses-a-night
principle took the place of vaudeville entertainments.
THE OLYMPIA.
The Olympia is a handsome and imposing buildiag, and
occupies an ' island ' position in West Derby Road and Boaler
Street.
The site of the theatre was formerly occupied by the
Liverpool Licensed Victuallers' Asylum, which was erected
in 1852, for necessitous widows and orphans of deceased
members. The original asylimi was in St. Anne Street, and
is now part of the headquarters of the 5th T.B.K.L.R.
In the late 'seventies the asylum and the land upon
which it stood in West Derby Road were in the market to
be sold. Later on the asylum was demoUshed, and the land
remained unoccupied, save when tenanted by itinerant
showmen, until that vast syndicate known as Moss' Empires,
Limited, bought the groimd.
The Olympia was opened on Easter Monday, 1904. The
theatre is twice as large as the London Hippodrome, and it
has a seating capacity of 3,750. Every kind of variety
entertainment occupies the bill from time to time.
The exterior is designed in free Italian Renaissance style,
faced with red pressed bricks with stone dressings, and the
facade is well outhned with a central tower sunnounted by
a mechanical revolving sign, and flanked on either side with
small minarets. There are some thirty-six exits, each 6 feet
wide, the doors being fitted with safety panic bolts.
The interior is handsome, the scheme of colouring being
cream, blue and red, reheved with gold. There are sixteen
370 ANNALS OF THE IvIVERPOOIv STAGE
rows of comfortable tip-up stall seats, with a clear view of the
stage. At the rear of the stalls on either side of the cine-
matograph room, are situated ten private boxes, and there
are four stage boxes.
The circle is immediately above the stalls. The side
elevation on the grand tier and balcony level is panelled out
and divided by ornamental pilasters and Indian panelling,
and between these panels full-length elephants support trusses
carrying the main ceiling. Curtains and draperies are of
Indian design, being of brilhant Oriental scarlet plush, en-
riched by wide embossed upright bands,and further ornamented
at the base and sides by borders of appliquS design in deeper
shades of crimson and gold, finished with massive silk fringe,
three feet deep. The proscenium valance, surmounting the
tableaux curtains, is prettily draped and embelUshed with
applique designs in gold and silver, and deeper scarlet plush
on a brocaded background. The curtains and draperies of
the private boxes are of the same materials. The stage and
arena constitute a distinctly novel feature. The arena is
42 feet in diameter, and is worked by hydraulic power.
At the pull of a lever the arena collapses and automatically
disappears in twenty seconds, a lake for aquatic displays,
containing 80,000 gallons of water, taking its place. The
arena-mat, some 42 feet in diameter and weighing some three
tons, is entirely manipulated by mechanical means, being
drawn on or off in less than a minute by the aid of electricity
and without manual labour. Formerly some twenty-six
men were employed for this purpose. Fountains are fitted
in the water tank, which enables displays to be made. The
prime opening attraction was the equestrian sketch. Tally
Ho ! from the London Hippodrome.
THE NEW PAVILION THEATRE.
This handsome and spacious theatre is situated in Lodge
Lane and Beaumont Street. It was opened on February 24,
1908, by the proprietors, Messrs. W. H. Broadhead and Son.
The Pavilion is the first theatre erected in the populous Lodge
ANNALS OF THE LIVERPOOL STAGE 371
Lane district. The building, which is constructed on the
two tier principle, is capable of seating 2,050 persons. It
is conducted on the two-houses-a-night system.
THE THEATRE ROYAL, GARSTON.
Less than a couple of decades ago the Garstonians were
unable to boast of a permanent theatre, and had to be content
with such dramatic fare as itinerant showmen occasionally
brought. In 1891 there was the Britannia Theatre, under the
proprietorship of Mr. J. W. Snape, who is, I believe, still touring.
The Britannia was not a permanent structure, but it was Mr,
Snape's intention at that time to build a regular theatre.
But this he never carried out. The Royal Palace of Varieties
was afterwards erected in St. Mary's Road, and the opening
took place in 1892. Mr. John Hargreaves was the manager.
After being run as a variety theatre it was converted into
a playhouse. Closed since February, 1895, the theatre was
re-opened on August 3, 1896, by Mr. David Barnard with
Parson Thorn as the attraction. Mr. Barnard brought good
companies, and successfully directed the theatre for a number
of years. After he left the Royal it was converted into a
bilUard hall.
BOOTLE
Bootle has only begun to make theatrical history within
a comparatively recent period.
Probably the first entertainer of repute to relieve the
monotony of hfe there was Samuel Lover, the celebrated
novelist, who gave an ' Irish night,' at the old Rimrose Hotel,
in 1845.
The opening out of the north-end docks gave a special
fillip to trade in this quarter, and provided an increasing
number of inhabitants, for whose delectation itinerant show-
men and others used to come and give specimens of their
quality.
Entertainments used to be given in the Palatine Hall,
Miller's Bridge, and musical evenings were held in several
hostelries — notably the Jawbone and the Dolphin.
A theatre of some considerable pretensions was Mr.
C. H. Duval's Royal Standard, which, was situated in the
Derby Road on the site now occupied by a branch of the
London City and Midland Bank. The performances here were
of a full-flavoured description, and were greatly appreciated.
Then there was Cartland's Circus, which was opened
about 1890. It was constructed partly of wood and brick,
and stood at the comer of Strand and Irlam Roads. The
site is now occupied by the Fire Station.
The pressing need of a permanent theatre in the Borough
was obvious, and, to supply the long-felt want, the Messrs.
Pennington decided to erect a suitable theatre. The site
cliosen was on the east side of Irlam Road, on ground which
a few decades before had formed part of a wave-kissed strand.
In 1887 Mr. Harry Pennington (who is now the Earl
of Derby's agent for Bootle), prepared the plans. Mr.
Pennington was then in his twenty-third year, and at that
time (according to his owti confession), had no practical
knowledge of theatre architecture. In 1888 Mr. Pennington,
senior, who had been long in the service of the Earl of Derby,
commenced the erection of the building, but in the August
ANNAI.S OF THE LI\^RPOOL STAGE 373
of that year he unfortimately died. Consequently, building
operations were suspended until 1889, when the imdertaking
was again put in hand, the Messrs. James and John Penning-
ton carrying out the work until its completion.
The theatre was christened the Royal IMuncaster, and it
was let to Messrs. H. T. Denyer and Harris Fineberg, who
opened it as a music hall on Monday, October 6, 1890. The
following is a copy of the inaugural bill : —
' ROYAI. MUXCASTER THEATRE,
Irlam Road, Bootle.
Proprietors and Managers . . H. T. Denyer & Harris Fineberg.
This Place of Amusement is the first Theatre built in Bootle.
Pennington Brothers, Builders and Architects.
The Building superintended by Mr. James Pennington.
The New and Magnificent Scenery painted by Mr. S. King
and Assistants (By permission of Messrs. Fineberg and Lees,
Star Music Hall, Liverpool).
The Band of 15 Performers under the direction of Mr. E.
Jonghmann.
Programme.
Monday, October 6, 1890, and during the week.
Overture Band
Miss Cissy Trent,
Transformation Dancer.
Mr. Billy Seward,
Negro Comedian.
Miss Seaford,
Burlesque Actress.
The Cawellys,
Acrobatic Entertainment
Grand Selection from Wallace's Opera
MARITANA,
Under the direction of Mr. E. Jonghmann.
374 ANNALS OF THE LIVERPOOL STAGE
Mr. Eaton Batty,
Baritone Vocalist.
Miss Lydia Yeamans,
Accompanied by Mr. F. J. Titus.
Mr. Fred Millis
Ventriloquist.
Sisters Wills,
Vocalists, Dancers, and Musicians.
Fish and Richmond,
Eccentric Comedians.
Mr. Walter Stockwell,
Comic Vocalist.
God Save the Queen.
The Artistes will appear according to Number exhibited at
side of stage.
Prices of Admission :
Stage Boxes, £2 2s. to los. 6d. ; Stalls, 2s. ; Front Circle,
IS. 6d. ; Side Stalls, is. ; Pit, 6d.
Doors open at 7, Performance to commence at 7.30.
Early Doors at 6.30 to all parts 6d. extra.'
The Muncaster was rim as a \'ariety theatre down to the
time Mr. Denyer ceased his connection with the theatre. Mr.
Fineberg then proceeded to give dramatic performances. In
1893 the Messrs. Pennington took over the management of
the Mtmcaster, giving drama for three weeks out of the month
and variety entertainments the fourth week. Finding,
however, that drama was more suitable to the popular taste,
they decided to give theatrical fare only, and as a dramatic
house this theatre has been run ever since. The Muncaster
is a people's theatre at popular prices, and brightens the
lives of many. At the time of writing drama is being played
twice nightly by an able stock company. This innovation
was inaugurated on the August Bank Holiday of 1907.
The first assistant manager of the theatre was Mr. J. W.
Jones, who came here during Mr. Fineberg's management.
Mr. Jones was succeeded in the beginning of 1900 by Mr. Sam
Hill, who had been associated with the theatre for several
ANNALS OF THE LIVERPOOL STAGE 375
3^ears in a minor capacity. Mr. Hill remained here mitil
April, 1900, when Mr. Albert E. Wilson was made acting
manager. Mr. Hill is a talented Lancashire dialect writer,
and has published a couple of volumes (' Foirewood,'
and ' Little Spadger's Dog '), besides numerous dialect
sketches. Mr. Wilson first came to the theatre in
November, 1896, and, until the period mentioned above,
he was chef d' orchestra. Mr. Wilson is a capable musician,
and has composed the incidental music for several touring
successes. In the latter part of 1906, he gave up the acting
management in order to resume his old position as musical
director. In 1907 he severed his connection with the theatre.
He was succeeded as acting manager by Mr. Harry Young,
who fills the position with courtesy and tact.
Among the first productions at the Muncaster have
been The Scarlet Brotherhood, The Gay Chaperon, Our Sailor
Lad, Between the Lights, Our British Empire, Tliey All Love
Jack, The 10.30 Down Express, The Kaithough, The Mystery
of Deshorough, When the Lights are Low, A Leap Year's Comedy,
From Washerwoman to Duchess, and The Pet of the Embassy.
It is worthy of note that the proprietors of the theatre
are descended from a very ancient family. vSome years anterior
to the Norman Conquest mention is made of a Pennington
— variously written, Penyngton, Penington, and in the Domes-
day Book, Pennegton, probably from Pennaig in British mean-
ing a chieftain, or great personage — Gamel de Pennington, to
wit. Pennington, which is situated between Dalton and
Ulverston, in Ivancashire, was the original seat of the family,
but Gamel de Pennington is supposed to have migrated some
forty years before the advent of William the Conqueror to
Mealcastre (now Muncaster), in Cumberland. For centuries
Mtmcaster was the principal residence of the Pennington
family, and it is now with Warter Hall, Yorkshire, one of the
two seats of the present Lord Muncaster. Until recently
a view of Muncaster Castle was depicted on the act-drop
of the Bootle Theatre.
THE ROY.\I. BRITISH CIRCUS.
This estabhshment, which was a commodious wooden
structure, was built and opened about 1898 by Mr. Edward
376 ANNAI^ OF THE LIVERPOOIv STAGE
Paddock. It was located on the west side of I/Jnacre Road,
Litherland, opposite to the Catherine Hotel. The entertainments
provided by Mr. Paddock consisted of equestrian performances
interspersed with variety turns. Mr. Paddock afterwards
let the building as a variety theatre to Mr. Fred Willmot.
After Mr. Willmot left, the late Matthew Montgomery ran
the house for a time as a music hall. Finally, the building
was put up for auction, and the materials sold.
BIRKENHEAD
On April 5, 1847, ^^f- ^- J- Holloway, formerly of the
Sans Pareil and Adelphi Theatres, Liverpool, opened a theatre
in Birkenhead on the occasion of the opening of the Morpeth
and Egerton Docks. On the same day the beautiful Park
was inaugurated with great rejoicing.
In the 'fifties Hendry's booth was something of an insti-
tution in Birkenhead. The booth, which was located near where
the Market now stands, was remarkably well appointed; The
scenery in particular, was beautiful, having been painted spec-
ially for the manager by an artist of note. Although the
price of admission was small, goodly sums were often taken
and the receipts regularly divided every night among the
company, which was a numerous one. Most of the players
were old stagers and very competent to perform their business.
' Business ' in Hendry's booth was quite different to ' business'
in a theatre, because it was necessary that the plays should
be given with hghtning-like rapidity. For instance, Richard
would run his wicked career — offer his kingdom for a horse —
have his ' cut in ' at Richmond — and get killed off-hand in
twenty minutes from the rise of the curtain. Another piece
followed, with all those striking varieties of scene and character
which delighted a mixed audience. Finally, there came a
* screaming farce,' and the whole was brought to a close in less
than an hour. The Castle Spectre in tabloid form could be
swallowed in twelve or thirteen minutes, whereas in a regular
theatre it took nearly three hours. In addition to performing
the players also had to ' parade.' This was usually done
in that picturesque old style immortah'sed by Hogarth.
Hendry's booth, was as I have indicated, nm on sharing
terms. Hendry himself had six shares — two as proprietor, and
378 ANNALS OF THE LIVERPOOL STAGE
one each as manager and actor, and the remainder for the use
of the properties and for general wear and tear. The balance
was allocated among the company as follows : — four shares for
the ladies, six for the gentlemen, one for the supers, three for
the band, and one for the two horses, making a grand total
(including Hendry's six), of twenty-one shares, the general
average of which was about eight shillings per head.*
In the late 'fifties Mr. John Milton Hengler, of the well-
known equestrian family, was associated with the destinies of
a Cirque Variete in Hamilton Street, the proprietor of which
was Mr. John Henderson. Harlequin O'Donoghue ; or, The
Fairy White Horse of Killarney was the title of a pantomime
given at Christmas, 1859.
Another Temple of Thespis (made of wood), was situated
in Market Place South, the proprietors of which were Messrs.
Seagrave, Hurst, Johnston, and Francis. At this theatre
a number of clever performers appeared. There was also
another old theatre in the same street adjoining the present
Birkenhead Market. This was managed by Mr. C. H. Duval,
who afterwards was associated with the Theatre Royal.
Other early places of entertainment were the Shakespeare in
Chester Street (presided over, in 1869, by Mr. W. Weeks),
and the Birkenhead Arms in the same street.
Another favourite place of amusement was Culleen's
Circus, which was opened in 1883. The building, which was
situated in Conway Street, adjoining the General Post Office,
was capable of accommodating 3,000 people. It was held on
a two years' lease, and the interior was handsomely decor-
ated. The Circus was run for a time by Mr. J. Elphinstone,
who was succeeded by Mr. Joseph Ohmy. In 1884 it was
converted by Mr. Harry de Frece into De Frece's Variety
Theatre, but was demolished in the succeeding year in order
to make way for street improvements.
THE MUSIC HALL.
The Music Hall, so designated in the classic sense only,
is situated in Claughton Road. It was inaugurated on January
• ' Behind the Scenes, being the Confessions of a Strolling Player ' by Peter Paterson,
late Comedian of the Theatres Royal and Rural :' Edinburgh {1858), p. 75, /
ANNAIvS OF THE LIVERPOOI. STAGE 379
21, 1862 — the same year in which the foundation stone of
the Birkenhead Borough Hospital was laid by the Marquis of
Westminster.
THE THEATRE ROYAL.
Half a century ago the necessity of having a first-class
Temple of Thespis of their own instead of ' crossing the
water ' to Liverpool, was keenly felt by playgoers in Birken-
head. Accordingly a company of well-known local gentlemen
was formed, with Dr. J. M. Craig at their head. Among
others associated with the venture were Messrs. George
Harrison, Robert Dean, Halsall Segar, Henry Kelsall Aspinall,
and Lewis Homblower, the last of whom was the architect
of the projected theatre.
Land having been purchased in Arg>'le Street, building
operations were commenced in July, 1863, and on October
31 of the following year Birkenhead's first Theatre Royal was
opened. The decorations were by Messrs. J. and W. J. Jeffrey
of Compton House, Liverpool, and the scenery was by Mr.
D.Dalby. The theatre would comfortably seat 1,850 people,
and hold about 2,300. There was an artistic proscenium,
a pretty act-drop, and the stage was ver>' commodious.
The opening address was written by William Brough,.
who in 1866 had the management of the Prince of Wales,
Liverpool. It was spoken by Alexander Henderson, the
lessee.
After the National Anthem had been sung by a large and
representative audience, the green baize curtain rose upon the
comedy, A Handsome Husband, which was followed by F. C.
Burnand's burlesque Ixion ; or, The Man at the Wheel, and the
farce Ttirn Him Out.
The following is a copy of the playbill for the occasion : —
'THEATRE ROYAL, BIRKENHEAD.
Sole Lessee . . . . . . Mr. Alexander Henderson
GRAND INAUGURATION
AND
OPENING CELEBRATION.
Monday, October 31st, 1864.
38o ANNALS OF THE IvIVHRPOOL STAGE
ENGAGEMENT OP MISS LYDIA THOMPSON
and a most powerful company.
A New Act-Drop and Scenery painted by Dalby.
Monday, Tuesday and Wednesday,
October 31, and November i and 2, at Half-past Seven,
AN OPENING ADDRESS.
Written by William Brough Esq., will be spoken by Mr. Alex.
Henderson.
After which
"GOD SAVE THE QUEEN."
Will be sung by the entire Company.
The performances will then commence with the popular
Comedy, in One Act, entitled,
A HANDSOME HUSBAND.
Mr. Wyndham .
Henry Fitzherbert
Stephen .
Mrs. Wyndham
Hon. Mrs. Melford
Mrs. Twisden
Mr. E. Price.
Mr. A. Nelson.
Mr. Brock.
Mrs. Agnes Ryder.
Miss Nellie Nesbitt.
Miss Lewis.
To be followed by Burnand's celebrated Burlesque, entitled
IXION,
OR, THE MAN AT THE WHEEI<.
CHARACTERS IN THE PROLOGUE— MORTALS.
Ex-King of Thessaly, but though
T inn -( ^ ^'"ST with a prefix of an X, it y MlSS
lough 1
X, it I
wthat j]
ulders. J
does not Alphabetically follow that Lydia Thompson,
he has a wise head on his shoulders. '
Trondapameibomenos — Mr. Munro. Prosephe — Mr. Hill.
Podasokus — Mr. Thompson.
{Ixion's disloyal wife, who leads
the Revolutionists and proposes to J
be a tanner of her husband as f ■\r:„„ •d^^^4-^^
well as a dyer, and tramples on / ^^'^^ Procter,
her regal diadem, in order to
V become a Dia-democrat.
ANNAI.S OF THE LI\^RPOOL vSTAGE 381
IMMORTALS
r King of the Gods, and the most fin- \
Jupiter J. ished Gentleman in Olympus 3
r the celestial Telegraph Boy— "With ^
wings on his ankles, and wings near
Mercury -. j^j^ ^ogg, and no time he loses where-
\ ever he goes "
Miss
Mary Huddart.
;Miss
Louisa Laidlaw.
CHARACTERS IN THE DRAMA
( who, being bankrupt, and sadly in want
of change, is, in spite of his bad char-
Ixion \ acter in his former situation, " taken "
I up by Jupiter, and patronised by the
V "upper ten"
r Queen of the Gods, and Jove's spouse, ^
described by poets as the as ox-eyed
Judo J lady, and consequently of a mettle-some
I temperament; fond of Peacocks that sing
I Peakens of Joy while driving her car J
[ the Goddess of Beauty ; still a spinster, '
\ although it has been said by a great |
Venus < authority that "Venus ortoMari" which,
j being translated is "Venus ought to
[ Marry "
Cupid
the Son of Venus, who will be at once I
recognised as Love at first sight \
(Goddess of Wisdom ; a very studious
and quiet lady, though generally ap- ,
pearing with an owl ; Jupiter's house- I
keeper and keeper of the royal keys, |
but not on that account to be con-
founded with the modern Mother Bunch
( Secretarv to the Imperial " Sun" Firei
Insurance Company (Limited), and out
\ of his official capaciiy,author of several
Apollo / scientific works, art critic, adapter of
^ dramas by any Foreign hand, and
sporting member of the Four-in-hand
Club.
f Jupiter's beautiful "Buttons" a"
nice, active lad, the original Fat
Bov, who may be described as a
Ga'ny-mede and Gany-pursey-
un-to
Miss
Lydia
Thompson.
Miss
C. Elton.
Miss
Nellie Nesbitt.
Miss
Sidney Cowell.
Mr.
Walter Searle.
Miss
Ada Coates.
Mr.
Alfred Nelson.
382 ANNALS OF THE LIVERPOOI. STAGE
Promoter and chief Director of the^
Celestial Light Wine Association ;
J Patron Deity of Newing-ton Butts ; / Mr.
Bacchus (Jove's Butler, with full power over the I Q. p. Grainger.
I Imperial Pints, does not, in conse- f
quence of his occupation, lose his
tun
Mars Mr. R. P. Sheridan
Diana Miss WilUams. Vesta Miss Jones.
Hebe (Clerk of the Weather) Miss L. Cowell
Winged Genii, Passing Clouds, Shooting Stars, Apollo's Grooms,
Jupiter's Satellites, and other Heavenly Bodies.
The whole to conclude with the screaming Farce, entitled :
TURN HIM OUT
Nicodemus Nobbs (an initerant toy vender)
Mr. Walter Searle
Mr. Mackintosh Moke (a retired tradesman)
Mr. G. P. Grainger
Mr. Eglantine Roseleaf (an exquisite) Mr. R. P. Sheridan
Julia Miss Ada Coates
Susan ..... Miss C. Elton
Acting Manager, Mr. L,. J. Sefton. Stage Manager, Mr. Alfred
Nelson.
Musical Director, Mr. Michael Connolly. Machinists, Mr.
Huby and Assistants.
Scenic Artist, Mr. D. Dalb
Properties, Mr. Scarbrow and Assistants.
PRICES OP ADMISSION— THE OPENING WEEK.
Notice — Owing to the immense expenses attendant on
this undertaking, and with a view to keeping the Audience
additionally select, the Manager feels it necessary to issue
the following scale for the First Six Nights :
Dress Circle — 5s. (Reserved) ; Boxes— 4s, ; Pit— 2S.
Gallery — is.
Ordinary Price
Commencing the second Monday ;
Dress Circle— 4s. ; Boxes— 3s. ; Pit— is. 6d. ; Gallery— is.
ANNALS OF THE LI\nERPOOL STAGE 383
Doors open at Seven o'clock, the Curtain rising precisely
at Half-past Seven
The Box Plan will be open on Monday, the 24th instant, when
Seats can be secured and tickets obtained for any evening
during the Opening Week '
During the first week the Royal was opened, E. A. Sothern
appeared in My Aunt's Advice, and Dundreary Married and
Done For. The following month (December), saw J. L. Toole
and Paul Bedford in The Pretty Housebreaker and The Area
Belle. Mr. Henderson's first and only pantomime at the
Royal was Charles I\Iillward's The Jolly Miller of the Dee ; or
Harlequin Bluff King Hal and the Fair Maid of Leasowe, pro-
duced on December 26, 1864, and preceded by the drama
entitled Theresa's Vows ; or, the Cross of Gold.
Mr. Alexander Henderson's association with the Royal
was not of long duration, as on Saturday evening, Feb-
ruary II, 1865, he retired from the management in order to
devote his attention to other enterprises, one of which was
the building of the New Prince of Wales Theatre and Opera
House in Lime Street, Liverpool.
He was succeeded as lessee and manager by Mr. Alfred
Nelson, with whom was associated as acting manager, Mr
A. B. Viner. Nelson's opening attraction (Feb. 13, 1865),
was The Poor of Birkenhead, one of Dion Boucicault's ' bob-
tailed ' pieces under a new name.
Easter of 1865 saw another change of management, the
new lessee being Mr. C. Morrelli. The Christmas of 1866
witnessed a further change, Mr. George Grant then assuming
control. Mr. Grant opened with the pantomime, written
by Alfred Smith, and entitled, Harlequin Alhambra ; or, the
Three Moorish Maidens, and the Spanish Knights, with local
and topical ' hits ' plentifully interspersed. The story was
founded on one of Lord Lytton's novels. In 1868 Mr. H.
Montague of the St. James's Hall, Liverpool was the lessee. In
March, 1869, the theatre was under the management of Messrs.
George Vining and E. H. Brooke. About the middle of the
'seventies Mr. Charles H. Duval next had a try for fame and
fortune with the Royal. In 1877 Mr. Butler Stanhope
took over the remaining portion of Mr. Duval's lease.
384 ANNAI.S OF THE LIVERPOOI. STAGE
On March 4, 1878, Mr. Dennis GranneU acquired the theatre
on a three years' lease. At that time Mr. Grannell had also
the Prince of Wales (now the Argyle), Birkenhead, and the
Rotunda, Liverpool. Afterwards Messrs. Butler Stanhope
and J. Vowles became the lessees, and successfully carried
on the theatre for a number of years.
During Jlessrs. Stanhope and Vowles' first stock season,
which ran for nearly four years, the company included E. S.
Willard, T. Morton Powell, R. C. Buchanan, Harry Cullen-
ford, Plenry Sainsbury, Horace Stanley, Sidney Hazlewood,
Walter Cameron, W. C. Shepherd, Marie Collins, and
Kate Kilpack. Among the ' stars ' engaged were : Charles
Dillon, J. L. Toole, Edward Terry, Henry Loraine, T. C. King,
and Kate Vaughan. The new plays produced at the Royal
during the Stanhope and Vowles regime comprised : — The
Lighthouse on the Crimson Rock (May 14, 1883), Collars and
Cuffs, musical farcical comedy by Henri R. French (November
30, 1883), Creeping Shadows, a drama in five acts, by
Butler Stanhope (April 18, 1887), and Darkest London, a
drama in five acts by Butler Stanhope (April 4, 1891).
In the last-mentioned pla}'- the author played the part of
Mark Collings, Mrs. Stanhope that of Jenny Bland, and little
lyalla Stanhope appeared as Dick Sparks.
On Friday, June 24, 1892, a fire broke out in the theatre,
when damage to the amount of ;^2,ooo was done. Fortunately,
the premises were insured. The management afterwards
applied successfully to the magistrates for a temporary
license to act in the Circus in Conway Street until the
repairs had been completed.
After Messrs. Stanhope and Vowles severed their con-
nection with the Royal, the theatre was taken over by Mr.
Ellis Brammall, junior. Next Mr. John I^awson of Humanity
fame and Mrs. Ennis Lawson became associated with its
destinies. They were followed by Mr. P. J. Singleton, who
in turn was succeeded in August, 1898, by Mr. W. W. Kelly,
who ran the theatre most successfully until the summer of
1905, when it was closed for extensive alterations.
After remaining closed for two months, the theatre was
re-opened by Mr. Kelly on August Bank Hohday, with Peggy
Machree. During the recess the theatre had been recon-
structed, redecorated, and re-upholstered, and the electric
ANNATE OF THE LIYERPOOL STAGE 385
light installed throughout. While the alterations were in
process an old spring well was found below the stage and
covered up. This, doubtless, was one of the town's water
supplies in the long ago.
THE ARGYLE THEATRE OF VARIETIES.
This favourite place of entertainment was opened as the
Argyle Music Hall in 1868. It was built by Dennis Gran-
nell and his brother-in-law, George Arundale, the latter
of whom managed the hall until about 1873, when the
partnership between Grannell and himself was dissolved.
Grannell then ran the Argyle in conjimction with the
Rotunda, Liverpool. The booking and 'general manage-
ment from 1873 to 1893 were under the control of
Mr. Charles Wood of the Liverpool Rotunda. A dramatic
license was obtained about 1876, and the name of the house
was changed to the Prince of Wales Theatre. The theatre
was then run for .some time with a stock company from the
Rotimda Theatre, Liverpool. For some years a variety
company from the Star, Liverpool, vmder the direction of
Mr. Noah Lees, used to play during the summer on Monday
and Saturday evenings. In 1889 the name of the house was
changed back again to the Argyle. The theatre has been in
the hands of the one family since it was built. The present
proprietor, Mr. D. J. Clarke, is a nephew of Dennis Grannell,
and worked under him from August, 1888, to May, 1893, when
he took over the sole management.
THE THEATRE METROPOLE.
This theatre is situated in Grange Road. It was
first opened as Ohmy's Grand Circus by Mr. Joseph
Ohmy on Monday, December 17, 1888. The architect of the
building was Mr. William Hesketh, of Liverpool ; and the
contractor, Mr. David Sumner, of Bootle. The building was
designed and constructed so as to be convertible into either
a theatre or a circus. The first intention was to set apart
386
ANNATE OF THE LIVERPOOL STAGE
four months of the year for circus entertainments, and the
remaining eight months for theatrical performances. In
1890 the building was styled the Gaiety Theatre. On
INIonday, February 9, 1891, Mr. Ellis Brammall, junr., opened
it as a music hall.
On August Bank Hohday, 1891, Mr. Brammall turned
it into an orthodox Temple of the Drama, the opening attrac-
tion being Our Regiment. The late John Riley was the resi-
dent manager, and the late B. Henderson Howat the secretary.
Riley was for many years associated with the Argyle under
Dennis Grannell, transferring his services to Mr. Brammall
on the opening of the Metropole. On February 21, 1898,
Mr. W. W. Kelly became the lessee, and so remained until
February 21, 1905. Since then the theatre has been closed.
INDEX
Abington, Mrs., 68, 77.
Addison, Carlotta, 238, 308.
Addison, Fanny, 238, 307.
Aickin, Francis, 81-2, 84, 85, 86,
92, 98, 99, 107, 179, 180.
Alsop, Mrs., 133.
Anderson, J. H., 151, 164, 233,
310.
Anderson, James R., 149, 151,
156, 228, 232.
Anderson, Mary, 319, 320, 321.
Anson, G. W., 284, 285.
Archer, William, 266.
Arnold, H. C, 332, 333, 334.
Astley, John, 105, 178, 179.
Astley, Philip, 89, 90, 177-180.
B
Baddeley, Mrs., jt,.
Baddeley, Robert, 41,
Baker, Mr. and Mrs., 31, 34,
35, 37, 41.
Baker, Miss, 41.
Baker, Basil, 148, 228.
Bancroft, Sir Squire and Lady,
172, 273, 274, 280, 281, 305,
328.
Banks, John, 131, 132, 182, 183,
184, 185, 186, 187.
Bannister, John, 86, 99, 102,
119, 128.
Barrett, Wilson, 199, 243, 250,
251, 284, 327, 330.
Bartley, Mr. and Mrs. George,
134-
Barry, Mrs. Wm., 48, 49.
Barry, Shiel, 242, 308, 327
Barrymore, Mr., 84.
Bateman, Ellen, 230.
Bateman, Kate, 173, 174, 230,
243, 300, 306, 310.
Beatrice, Mdlle., 243, 244.
Bedford, Paul, 144, 149, 171,
383.
Bennett, Elizabeth, 37, 40, 42,
43, 44, 48, 50, S3, 60.
Bennett, James, 227, 228, 283,
296, 310, 311.
Bennett, Julia, 151.
Bensley, Mr., 42, 44, 68.
Benson, Frank R., 300, 319, 327.
Bentley, Walter, 319.
Bernhardt, Sarah, 315, 319,
320, 327.
Betterton, Mr., 85, 86.
Betty, Master W. H., 117, 118,
119.
Betty, Henry, 227.
Beverley, Henry, 189, 192, 199.
Beverley, William, 145, 189.
Bolton, Mary Catherine, 122.
Bigham, Sir J. C, 171.
Billington, Mrs., 85, 107.
Blundell, Nicholas, 14.
Boleno, Harry, 164, 336, 340.
Booth, Junius Brutus, 131, 185.
Booth, Edwin, 185, 238, 317.
Boucicault, Mr. and Mrs. Dion,
238, 242, 308.
Boyne, Leonard, 203-5, 327.
Bradbury, Robert, 98, 182, 187.
Braham, John, 145, 147, 334,
335-
Brammall, Ellis, jun., 322, 325,
329, 332, 384, 386.
Branson, William Scholes, 160,
171, 190, 196, 197, 198, 199,
202, 205, 206, 246, 297.
Brickwell, H. T., 323-4.
Brooke, G. V., 151, 157, 165,
171, 194, 214,230,233,238.
Brooke, Mr. and Mrs. E. H.,
309, 314, 383.
Brough, Lionel, 237, 274, 278,
290, 308, 316.
Brough, Robert, 160-1, 228,
245, 296.
Brough, William, 228, 380.
388
INDEX
Buchanan, McKean, 230.
Buckstone, John Baldwin, 149,
IS4, 158, i6s, 173, 174,
214, 228, 230, 233, 309.
Bunn, Mrs., 134, 138.
Burke, Master, 144.
Burnand, Sir F. C, 173, 282.
Burroughs, Watkins, 225, 227.
Byron, Henry J., 173, 241, 242,
272, 282, 305.
Calhaem, Stanislaus, 190, 238,
242, 256.
Caloe, John, 252, 253, 255.
Calvert, Mr. and Mrs. Charles,
172, 305, 312, 313, 315-
Cameron, Violet, 314.
Campbell, Mrs. Patrick, 321.
Carton, R. C, 245, 314.
Cathcart, J. F., 228, 305.
Cavendish, Ada, 312, 313.
Celeste, Madame, 145, 148, 153,
165, 166, 167 168, 194, 230,
233.235,237,238, 242, 334.
Chalmers, Mr., 104.
Chetwood, Mrs., 19.
Chippendale, Mr. and Mrs., W.
H., 147, 173, 174, 299, 316.
Clarke, D. J., 385.
Clinch, Laurence, 65.
Coleman, John, 157, 158-160,
198, 239, 240, 268, 299, 310.
Collins, Mr., ^j.
Collins, Sam, 214.
Compton, Mr. and Mrs. Henry,
156, 165, 173, 174, 214.
Compton, Edward, 156, 284, 326.
Conway, Wm. A., 132.
Cooke, Geo. Frederick, 77,120-
122, 135.
Cooke, John, 186, 187, 220, 222.
Cooke, T. P., 154, 208, 228.
Cooper, Frank, 244.
Cooper, John, 112, 114, 148.
Copeland, |Wm. Robert, 161,
164, 168, 170-1, 173, 177,
227, 232, 234, 240, 355.
Copeland, Mrs. W. R., 228.
Copen, Mrs., 31, 37.
Courtenay, Lindo, 205-6, 247-8.
Cowper, J. C, 234-5, 238, 241,
^ 243.
Craven, H. T., 279, 282.
Creswick, William, 156, 157,
159, 243-
Crosby, "Walter, 199.
Crouch, Mrs., 86.
Cushing, Mr., 44, 48, 51.
Cushing, Miss, 34.
Cushman, Charlotte, 165, 167,
192, 193, 194, 195, 227.
Cushman, Susan, 192, 193, 194,
195-
Dacre, Arthur, 327.
Dancer, Mr. and Mrs., 19, 20.
Davenport Brothers, The, 277.
Davies, Mr. and Mrs. Thos.,
48, 49, 51, 57-
Davison, Mrs., 138, 141, 142.
Derby, Edward, 3rd Earl of, 6, 7.
,, 4th Earl of, 6, 9.
„ 5th Earl of, 8, 9.
„ William, 6th Earl of, 9,
10.
„ James, 7th Earl of, 10.
„ James, loth Earl of, 3.
, , Edward, 1 2th Earl of ,64.
Derrick, Samuel, 19, 39.
Dibdin, Tom, the elder, 85, 108,
III.
Dibdin, Charles, 85.
Dibdin, E. Rimbault, 85, 266.
Dickens, Charles, 162, 174, 228,
336.
Dickinson, Isabel, 215.
Diddear, Mr., 142, 221.
Didier, Mrs., 41, 43, 44.
Digges, West, 67.
Dignum, Mr., 85.
Dillon, Charles, 174, 230, 241,
244, 297, 384.
Dodd, Alice, 170, 295.
Don, Sir William and Lady,
166, 234, 242, 272, 295.
Donaldson, Walter, 130, 185.
Douglas, May, 243, 247, 299.
Dowton, William, 127, 134, 141,
143, 144, 148.
Doyle, T. F., 174, 248, 289, 295.
Drew, John, 238.
Dublin Players, 16, 18, 19.
Ducrows, The, 144, 180, 183,
185, 188, 222, 224, 225.
Duval, Chas. H., 260, 264, 265,
323, 364, 372, 378, 383.
Dyall, Charles, 289.
Dyas, Ada, 196, 197, 198, 310.
Dyer, Mrs., 37, 41.
INDEX
389
Edgar, Robert, 195, 196, 215,
267.
Edmead, Miss, 109.
Edwin, Mrs., 124.
Egan, Pierce, 225.
EUar, Tom, 146, 208, 221.
Elliston, Edmund, 335.
Elliston, R. W., 119, 122, 141,
143, 335-
Elphinstone, James, 259.
Elton, E. W., 150, 221.
Emery, Frank, 248, 285, 287,
289, 319-
Emery, Mr. and Mrs. John, 90,
100, 103, 112, 114, 117, 119,
122, 127, 132, 134, 138.
Emery, Sam, 238, 283, 307.
Emery, Winifred, 238.
Falconer, Edmund, 197, 243.
Farley, Chas., 86.
Farren, Elizabeth, 22, 33, 63, 64,
70.
Farren, Mr. and Mrs. George,
22, T,2, 63.
Farren, Henry, 156, 195.
Farren, Margaret, 33.
Farren, \Vm. (i), 74, 75.
Farren, Wm. (2), 140, 141, 148,
165.
Farren, Nellie, 249, 283, 285,
308.
Farren, Kitty, 63.
Faucit, Harriet, 148-9.
Faucit, Helen, 148, 149, 156,
165, 243-
Fawcett, J., 113, 117, 119.
Fechter, Chas. A., 172, 174, 239.
Fernandez, J as., 242, 243, 306,
315, 319-
Ffarington, Wm., 6, 7.
Fineberg, Harris, 344, 346, Z7Z,
374-
Fmeberg, Isaac, 342, 343, 344.
Fisher, Clara, 138, 142.
Fitzwilliam, Mrs., 149,154,158,
165, 173, 214, 228, 230.
Foote, Maria, 142, 144, 145.
Forrest, Edwin, 148, 194.
Fortescue, Miss, 319.
Fox, Mr., 42, 44, 48, 85.
Freear, Louie, 267.
Fund, Liverpool Theatrical, 80- 1 .
Fumival, Mrs., 19.
Galindo, Mrs. 120.
Gamer, Arthur, 245, 283.
Garrick, David, 20, 63, 6^, 66,
68.
Gibson, William, 15, 22-25, 32,
2,7, 40, 41, 42, 44, 45-6, 48,
49, 50-1, 55-
Giffard, Henry, 19.
Gilbert, Sir W. S., 280, 285, 321.
Gladstone, Right Hon. W. E.,
175, 357-
Glenney, T. H., 198, 199.
Glover, Mrs., 86, 109, 112,117,
131, 134, 138, 139, 140.
Gomersal, Mr. and Mrs. Edward,
188, 227.
Grain, Comey, 263-4.
Granier, Mr. and Mrs., i^^, 35, 36,
i7-
Grannell, Dennis, 294, 295, 297,
300, 384, 385.
Grant, Mr., 96, 98, 108, 119, 122.
Grimaldi, Giuseppe, 38, 39.
Grimaldi, Joseph, 38, 131, 132,
133-
Grimaldi, J. S., 132, 133.
Grimani, Julia Ann, 108, 113,
114, 118.
Hague, Sam, 173,323, 351-353-
Half Price Riots, 122-124.
Hamerton, Mr., 92, 114.
Hammond, W. J., 144, 151, 152,
153, 163, 192, 194, 195, 208,
209, 227, 228, 334.
Hare, Sir John, 249, 274, 275,
277, 281, 288, 308, 326, 328,
Harley, J. P., 103, 131, 138,
141, 144, 148.
Harper, Mr., 191.
Harris, Sir Augustus, 244, 314.
Harvey, Martin, 252.
Haydon, John S., 301, 302.
390
Hayes, Catherine, 335.
Heath, Caroline, 238, 243, 284.
Heath, Joseph, 258-9, 261.
Heath, Theodore, 205, 259.
Henderson, Alex., 240, 269, 272,
277, 281, 282, 290, 305,
379, 380-383.
Henderson, John, 72, 75, tj.
Hengler, Chas. M., 354-357-
Heron, John, 15.
Hewson, J. James, 292, 293,
299. 319, 320.
Higgle, Thos., 240.
Hilliard, Miss, 35.
Hildyard, Walter, 197.
Hill, Sam, 374-5.
Hodson, Henrietta, 244, 284.
Holland, Chas., 37, 39, 41, 82-4.
HoUingshead, John, 176, 322.
Holhngsworth, Mr., 73, 75.
HoUoway, W. J., 191, 216, 217,
218, 219, m.
Holman, J. G., 93, 94.
Holtom, Mr., 31, 35, 37, 43. 44.
48, 57, 61.
Honey, Geo., 172, 282, 308.
Hopkins, Mrs,, 48, 51.
Hoskius, Wm., 153.
Howard, J. B., 250, 320.
Howe, Henry, 173.
Huddart, Fanny, 145.
Inchbald, Mrs., 67, 72.
Incledon, Chas., 86, 92, 93.
Irvine, W. Fergusson, 4.
Irving, Sir Henry, 153, 162, 166,
168, 240, 241, 252, 306-7,
308, 309, 311, 314, 315, 316,
318, 320, 350.
J
Jefferson, Mr. and Mrs., 20.
Jefferson, Joseph, 20, 172, 284,
285.
Johnstone, Jack, 99, 127, 132,
138, 140.
Jones, Avonia, 238, 278.
Jones, J. Wilton, 249, 300, 301,
328.
Jordan, Mrs., 78, 79, 84, 107,
122, 133.
Josephs, Fanny, 282, 283, 290,
291.
Kean, Mr. and Mrs. Chas., 144,
146, 147, 148, 150, 152-3,
154, 238, 304, 305.
Kean, Edmund, 128-0, 130, 133,
134, 138, 140, 143, 144, 145.
Keeley, Mr. and Mrs., 146, 148,
151, 165, 167.
Keeley, Louisa, 237.
Kelly, Miss F. H., 144.
Kelly, Michael, 86.
Kelly, W. W., 384. 386.
Kemble, Mr. and Mrs. Chas.,
128, 143, 144, 146, 147, 148.
Kemble, Fanny, 146, 147, 157,
158, 159.
Kemble, J. P., 69, 70, 71-2, ^6,
82, 83, 86, 90, 127, 128,
129.
Kemble, Mr. and Mrs. Stephen,
i^ -je, 84, 103.
Kendal, Mr. and Mrs. W. H.,
173, 174, 249, 251, 282,
283, 284, 288.
Kennedy, Mr. and Mrs. L., 20,
96, 104. '
Kennedy, Miss, 31.
Kieman, James, 198, 297, 325,
353, 367, 368, 369.
King, Thomas, 41, 66, 68.
King, T. C, 218, 233, 242, 298,
301, 384-
Knight, Thos., zi, 80, 99, 107,
119, 133-
Kniveton, Mr. and Mrs., 57, 72,
7l> 74.
Knowles, Sheridan, 147, 148, 149.
Lauri Family, Tbe, 232, 235,
304-
Leake, Miss, 99.
Le Brun, Tony, 75.
Leclerq Family, The, 172, 174,
189, 208, 218, 224, 245, 256.
Ledger, Mr. and Mrs., 98, 99.
Lee, Jenny, 284.
Leno, Dan, 200, 259, 294, 326,
349, 350, 363-
Leslie, Henry, 173, 206, 243, 245.
Levey, John, 175.
Lewes, Chas. Lee, 15, 22, 36, 68,
72, 73. 86.
Lewes, Geo. H., 228.
Lewis, T. D., 131, 150, 163-4,
177, 186, 187.
Lewis, W. T., 67, 68, 107, 112,
126, 127, 131, 177, 187.
Lind, Jenny, 163, 228.
Listen, John, 128, 131, 144.
Lofthouse, J. S., 263, 362.
Loraine, Henry, 174, 175, i99,
232, 233, 299, 384.
Losebj^ Constance, 249, 283.
Lover^ Samuel, 33;, 336, 372.
Lowrey, Dan, 359, 360.
M
Maccabe, Fred, 174, 197, 232,
263.
MacGregor, Miss, 235-6.
Mackay, Chas., 144, 148, 213.
Macklin, Chas., 51, 65, 69, 78.
Macready, Wm., 78, 103.
Macready, W. C, 78, 80, 134,
135, 140, 143-145, 147, 164.
Marriott, Alice, 195, 196, 235,
238, 239, 243, 245, 267, 268,
272, 298, 300.
Mathews, Mr. and Mrs. Charles,
82, 108, 113, 115-117, 127,
133, 143, 144-
Mathews, Chas. (the younger),
iiq-6, 146, 148, 149, 151.
155, 156, 165,306, 311, 314-
Mattocks, Mr. and Mrs. G., 41,
43,44, 53, 56, 57, 60, 61-2,
69, 74, 77, 81, 85, 107.
M'Ardle, J. F., 249, 285, 290,
296, 298, 316, 352.
McCormack, Ben, 236-7.
Mead, Tom, 157, 200.
Mellon, Harriot, 87, 88, 90, 99,
119.
Menken, Adah Isaacs, 239.
Miller, David Prince, 229, 336.
Millward, Chas., 267, 268, 279,
287, 298, 383-
Modjeska, Mme., 315-6.
MoUison, Wm., 319, 331.
Montez, Lola, 337.
Montgomery, Matthew, sen., 302,
303, 376.
Montgomery, Walter, 304.
Moody, John, 65," 69.
Morris, Mr., 41, 48.
Mountain; Mrs., 85, 109.
C 391
Mudie, Miss, 119.
Mullart, Miss, 35, 37.
Munden, Joseph, 67, 68, 85, 86,
107, 113, 114, 117, 124,
127, 128.
Murray, Chas., 99, 122,
Neilson, Adelaide, 309.
Neilson, Julia, 321.
Neville, Henry, 167, 234, 239.
Nicholson, 'Baron', 215, 340.
Nisbett, Mrs., 147, 151.
O'Grady, Hubert, 302, 314.
O'Neill, EHzabeth, Ji, 80, 130,
132, 133, 135-
O'Neill, Shane, 130-1,
Packer, Mr., 41, 42, 44, 48.
Palmer, John, 31, 42, 44, 48, 49,
51, t;7, 90-6.
Palmer, MiUicent, 172, 238.
Palmer, Mrs. Bandmann, 301.
Parsons, Mr. and Mrs. William,
41, 42, 43, 45, 48, 49, 51-
Patti, Adelina, 169.
Payne, Mr. and Mrs. Howard,
12S, 227.
Pennington, Harry, 372.
Pennington, W. H., 175, 297.
Phelps, Saml., 214, 230, 272,
307, 314.
Picton, Sir James A., 11, 13, 16,
21, 180.
Pinero, A. W., 289, 296, 311-
313-
Pope, Miss, 41, 42, 43.
Pope, :Mr. and Mrs. Alex., 85,
104, 105.
Powell, Mr. and Mrs., 86, 107.
Power, Tyrone, 127, 193.
Proctor, J., 198.
Quick, Mr. and Mrs. John, 56,
61, 73, 75, Ss.'^ios.
392
INDEX
R
Rachel, Mdlle., 163.
Ranoe, Rosina, 173.
Raymond, R. M., 144, 151, 167,
208, 209, 212-213, 214.
Reddish, Mr. and Mrs. Saml., 48,
49, 51, 53-
Redman, Mr., 34, 35. 37, 39, 40,
41-
Reeves, Sims, 163, 208, 233, 250
336.
Reynolds, Jane, 233.
Rice, T. D., 226.
Ridout, Mr., 22, 25, ^7, 39, 40-
Rignold, W. H., 233, 249.
Riots, Theatrical, 71-2, 122, 141.
Ristori, Mme., 166, 167, 171, 309,
317-
Robertson, J. Forbes, 326, 328.
Robertson, T. W., 278, 279, 280,
281.
Robson, Fred, 165.
Rock, Anthony, 108,
Rock, Miss, 142.
Rodgers, Jas., 157, 158, 215.
Rogers, Stanley, 300.
Romanzini, Miss, 84, 85.
Rosa, Carl, 250.
Roselle, Amy, 307, 327.
Roxby, Robert, 159, 160, 189.
Royce, E. W., 240.
Royle, John,, 4, 5.
Russell, Sir E. R., 250, 273, 278.
Ryder, John, 172, 241.
Ryley, S. W., 31, 96-7-8-9, 103,
104-5-6-7, 109, 142.
Saker, Mr. and Mrs. Edward,
173, 246, 278, 296, 304, 305,
307-8-9, 3", 313, 314-31S,
316, 317-8, 319, 320-1, 323,
325-
Salter, James, 138, 141, 159.
Salvini, Signor, 245, 318.
Santley, Sir Charles, 244, 304,
305.
Saville, Kate, 168, 171, 238,
243-
Scott, John, 207.
Shakespeare, Wm., 7, 9.
Shuter, Ned, 29, 30, 35, ^7, 39,
67, 69.
Siddons, Henry, 70, 71, 72, 73.
Siddons, Henry, jun., and Mrs.,
86, 107, 122.
Siddons, Sarah, 65-67, 69, 70, 71,
72,73,75,76,77,84, 86,89,
90, 120, 122, 244, 282.
Silsbee, Josh., 232.
Simpson, Mercer H., 156, 158.
Sketchley, Arthur, 337.
Smithson, Harriet, 141.
Smythson, Montague, 196, 197,
202.
Sothern, E. A., 275, 276, 282,
2S9, 306-7, 383.
Sparks, Isaac, 20.
Speakman, Walter, 297, 298.
Stanhope, Butler, 260, 332, 383,
384.
Stanley, Sir Thos., 7, 8.
Stephens, Kitty, 119, 140, 144.
Stirling, Mr. and Mrs. Edward,
165, 225, 226, 307.
Stoll, J. G., 346, 348.
Stoll, Oswald, 320, 348, 349.
Stoyle, J. D., 171, 173, 308,
350
Strange, Lord, his Players, 8.
Suett, Richard, 75, 84.
Sullivan, Barry, 160, 161, 162,
165, 166, 167, 175, 198, 228,
229, 230, 233, 237, 241, 242,
243,245,246, 310, 311, 318,
.320.
Sullivan, Mr. and Mrs. Chas.>
202, 245, 296, 297, 313.
Summers, Walter, 251, 300.
Swanton, J. G., 235.
Sylvester, Miss, 86.
Talbot, Montague, 103.
Tayleure, Mr. and Mrs., 127.
Tearle, Edmund, 205, 326.
Tearle, Osmond, 203, 243, 246,
296, 297.
Terriss, Ellaline, 319.
Terriss, Wm., 288, 301, 319.
Terry, Edward, 289, 291, 314,
324, 330, 384.
Terry, Ellen, 244, 252, 288, 316,
318, 337-
Terry, Kate, 239, 337.
Thackeray, W. M., 146, 336.
Thompson, I,ydia, 282, 380,
381.
Tilley, Vesta, 319, 330, 349.
Toole, J. It., 171, 241, 272, 274,
282, 306, 308,315, 383,384.
Tree, EUen, 146, 147, 148, 150,
151.
Tree, Maria, 134, 144.
Tree, H. Beerbohm, 289, 326.
Turpin, Miss, 146.
Usher, Dicky, 183, 185, 187,
189.
Vandenhoff, Chas., 172.
VandenhofF, Geo., 149,150,152,
195, 230-232.
Vandenhoff, John, 80, 128, 133,
141, 142, 145, 150, 155, 157,
165, 167, 193, 230, 233.
Vandenhoff, Mr. and Mrs. Henry,
232, 295, 296.
Vandenhoff, Miss, 150, 155, 157,
165, 230.
Vernon, Mrs., 33, 34.
Vestris, Madame, 144, 146, 148,
149, 151, 15s, 156.
Vezin, Mr. and Mrs. Hermann,
171, 244, 249, 282, 301.
Vincent, Mr. and Mrs., 37, 57.
Vokes, Family, The, 283, 344.
Vousden, Val., 196, 262.
W
Wade, William, 301, 330.
Walker, Tom, 19.
WaUack, Mrs. Henry, 146.
Wallack, Jas., 138-9, 146, 147,
193.
Waller, Lewis, 319, 330.
Walstein, Lavinia, 101-2, 108.
Ware, Geo., 259.
« 393
Ward, Mrs., 36, 39, 40, 69, 73,
85, 99.
Ward, Genevieve, 245.
Warner, Chas., 249.
Warner, John, 234.
Waylett, Mrs., 144.
Webb, Chas. and Henry, 273.
Webster, Benjamin, 153, 154,
15s. 16^, 194, 230, 233,242.
West, Joseph, 299.
White, Mr., 31, 35, 37.
Wigan, Mr. and Mrs. Alfred, 138,
273, 277, 308.
Wignell, Mr., 42.
Wilkinson, Miss, 43.
Wilkinson, Tate, 31, 40.
Willard, E. S., 284, 297, 384.
Williams, Mr. and Mrs. Barney,
168, 233.
Wilson, Mr., 70.
Wilton, Marie, 172, 280, 305. A
WoflSngton, Peg, 18, 19, 23.
Wood, Chas., 202, 294, 295, 297,
300, 302.
Wood, Mrs. John, 243, 282, 308.
Woodward, Henry, 41, 69.
Woolgar, Miss, 165.
Wright, Fred, 205, 232.
Wroughton, R., 56, 69.
Wyndham, Sir Chas., 239, 284,
315, 350, 364.
Yates, Mr. and Mrs. Fred, 143,
14 1, 148.
Young, Mr. and Mrs. C. M., 96,
99, 107, 108, 113-S, 116, 117,
118, 134, 141, 146.
Yonnge, Miss, 71.
Younger, Joseph, 53, 55, 60, 70,
71, 76-7-
The Lyceum Press, 37 Hanover Street, Liverpool
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